Pearl Bailey sings " Don't Like Goodbyes" from " House of Flowers ." As Pearl Bailey did in an earlier Arlen/Jonny Mercer musical " St. Louis Woman," she also portrayed a somewhat domineering presence on stage. Playing the Madame of a bordello in Haiti, the character had a financial interest in her " Flowers" as well as a certain rough-hewn affection for the girls that worked for her.as demonstrated in the song " Don't Like Goodbyes." Originally written for Ottilie, the young love interest in the show, Bailey made a fuss and appropriated the song for herself and intimidated young Diahann Carroll in the process.
This is a gentle goodbye song that uses everyday speech patterns. Jenness and Velsey have stated that " The song has the familiar upward glide on words that convey yearning like the last syllables of " Don't Like godbyes, tears or sighs----- and employing repeated notes on, first the lowered 7th interval, then the pure 7th interval beforing ending on the octave note."
Bailey manages to convey genuine regret at Ottilie leaving her " House." It is an affecting and memorable performance of a song that deserves to be a standard, especially since.saying goodbye is such a universal and poignant experience for everyone
NOTE: An earlier post from the film " Casbah" also deals with farewells. The post features Tony Martin singing " What's Good About Goodbye ?"
LINK:
http://www.youtube.com/watch?v=fVM61ntxN90
Monday 30 December 2013
Friday 27 December 2013
" HOUSE OF FLOWERS" ARLEN & TRUMAN CAPOTE TRIUMPH
" House Of Flowers" Arlen & Truman Capote Triumph. In 1954, Arlen was asked if he would compose the music for a Broadway production of House of Flowers. It was to be based on Capote's 1950 short story " House of Flowers." The author had spent several months in Haiti where he spent considerable time visiting and befriending a bordello run by a bossy Madame Fleur. Arlen believed that the costumes, songs and colourful characters would make an entertaining show. Pear Bailey played the enterprising Madame Fleur who had a genuine affection for her charges. A then young Diahann Carroll was to play Ottilie, a young girl in love with Royal, a country boy with these two characters to portray the love interest in the show.
" House of Flowers", was so named because Madame Fleur gave horticultural names to her girls, names like Tulip, Gladiola, Pansy and Ottiliie. Ottile consults the Houngan or voodoo priest who recounts a folk tale .When a bee lies sleeping in the palm of your hand and stings you, and you don't feel it, then you have found your true love or so the folk tale maintains.
Diahann Caroll sings A Sleepin' Bee, a marvellous ballad that David Jenness and Don Velsey, authors of Classic American Popular Song, The Second Half Century, 1950-2000
have described as "One of the greatest ballads of the half-century and has an extraordinary glowing quality, achieved by the most minimal means, like raising by one step the highest tone of the voice line in the second four bars, as compared with the first four."
Rather than citing further technical analysis of the song's merits,, listen instead to Diahann Carroll sing the song in a live television performance. Her performance is heartfelt and totally captivating.
LINK: http://www.youtube.com/watch?v=Iu91wObYGBs
" House of Flowers", was so named because Madame Fleur gave horticultural names to her girls, names like Tulip, Gladiola, Pansy and Ottiliie. Ottile consults the Houngan or voodoo priest who recounts a folk tale .When a bee lies sleeping in the palm of your hand and stings you, and you don't feel it, then you have found your true love or so the folk tale maintains.
Diahann Caroll sings A Sleepin' Bee, a marvellous ballad that David Jenness and Don Velsey, authors of Classic American Popular Song, The Second Half Century, 1950-2000
have described as "One of the greatest ballads of the half-century and has an extraordinary glowing quality, achieved by the most minimal means, like raising by one step the highest tone of the voice line in the second four bars, as compared with the first four."
Rather than citing further technical analysis of the song's merits,, listen instead to Diahann Carroll sing the song in a live television performance. Her performance is heartfelt and totally captivating.
LINK: http://www.youtube.com/watch?v=Iu91wObYGBs
Friday 20 December 2013
" HERE'S WHAT I'M HERE FOR" ANOTHER "STAR IS BORN: NUMBER
" Here's What I'm Here For" Another "Star is Born " Number. Two previous posts demonstrated the excellent collaboration between Harold Arlen and lyricist Ira Gershwin. It was a natural affinity since George Gershwin had declared that " He ( Arlen" is the most original of us all." while Ira has said " As one of the most individual of American show composers, he is distinctive in melodic line and unusual construction," Harold, for his part, idolized George Gershwin who offered great support to Arlen.
" Here's what I'm Here For" is introduced in the film as the relationship between Garland and James Mason deepens. He is in the recording studio as Judy performs the song which will be in a picture for which she ultimately receives the Academy Award.
It is a straight ahead and major key production number which Alec Wilder stated " Says nothing of great consequence but saying it well and cheerily. It sings easily, and my feeling is that the accompaniment should always be by a smoothly swinging band."
The song provides a welcome contrast from the emotionally drenched " The Man That Got Away" and " It's A New World", both of which underscore the ultimately tragic ending to the film. The first version is just the soundtrack recording
The second, for those interested, is a scene clip from the movie and demonstrates the love the principal characters have for each other. Screenwriter, Moss Hart, knew how to achieve dramatic intensity in his writing.
LINK: http://www.youtube.com/watch?v=acQLvf4Ud3g
LINK 2: http://www.youtube.com/watch?v=K26MNumr9po
" Here's what I'm Here For" is introduced in the film as the relationship between Garland and James Mason deepens. He is in the recording studio as Judy performs the song which will be in a picture for which she ultimately receives the Academy Award.
It is a straight ahead and major key production number which Alec Wilder stated " Says nothing of great consequence but saying it well and cheerily. It sings easily, and my feeling is that the accompaniment should always be by a smoothly swinging band."
The song provides a welcome contrast from the emotionally drenched " The Man That Got Away" and " It's A New World", both of which underscore the ultimately tragic ending to the film. The first version is just the soundtrack recording
The second, for those interested, is a scene clip from the movie and demonstrates the love the principal characters have for each other. Screenwriter, Moss Hart, knew how to achieve dramatic intensity in his writing.
LINK: http://www.youtube.com/watch?v=acQLvf4Ud3g
LINK 2: http://www.youtube.com/watch?v=K26MNumr9po
Thursday 19 December 2013
"IT'S A NEW WORLD" --WONDERFUL LYRICS AND MELODY
" It's A New World"--Wonderful lyrics and melody: Ira Gershwin was an accomplished and prolific lyricist, mainly with his brother George . However, when he teamed with Harold Arlen on a number of dramatic songs for Judy Garland In A Star is Born, he reached an even higher standard of expressiveness that matched the melodic brilliance of Harold Arlen. This was already quite evident in The Man That Got Away, the previous post on this blog.
That creative spark between Gershwin and Arlen continued with It's A New World. Authors Jenness and Velsey described this song as " A very beautiful example of Arlen's radiant major-key gift that kept from being simplistic by a yearning chromatic release," They also drew attention to Gershwin's lyrics for " A chaste song with an extraordinary verse, where Gershwin , using only common words, brings in a touch of early modern English poetry."
High praise indeed. It is an example of a song that is critical in explaining the relationship between Garland and James Mason who have just run away to get married and are in a tiny motel fleeing from reporters and the movie studio.
In the video excerpt, Garland gives a personal performance for her husband. It's a song that has already become a nation-wide hit song but she sings it a cappella for Mason.
It's a dramatic and compelling performance by a great singing actress.
LINK;
http://www.youtube.com/watch?v=9mf4sczAAak
That creative spark between Gershwin and Arlen continued with It's A New World. Authors Jenness and Velsey described this song as " A very beautiful example of Arlen's radiant major-key gift that kept from being simplistic by a yearning chromatic release," They also drew attention to Gershwin's lyrics for " A chaste song with an extraordinary verse, where Gershwin , using only common words, brings in a touch of early modern English poetry."
High praise indeed. It is an example of a song that is critical in explaining the relationship between Garland and James Mason who have just run away to get married and are in a tiny motel fleeing from reporters and the movie studio.
In the video excerpt, Garland gives a personal performance for her husband. It's a song that has already become a nation-wide hit song but she sings it a cappella for Mason.
It's a dramatic and compelling performance by a great singing actress.
LINK;
http://www.youtube.com/watch?v=9mf4sczAAak
Wednesday 18 December 2013
" THE MAN THAT GOT AWAY" ARLEN AND IRA GERSHWIN TRIUMPH
" The Man That Got Away"-Arlen and Ira Gershwin Triumph: The classic1954 movie, A Star Is Born, was a showcase for the singing and acting of Judy Garland. Ira Gershwin teamed with Harold Arlen to create a number of wonderful songs that enhanced the dramatic aspects of the story. " The Man That Got Away " is what Arlen would refer to as a " torch" a song of lamentation and love gone sour. In the movie, Garland is in an after hours musicians hangout and sings these simple but dramatic lyrics " Ever since this world began, there is nothing sadder than, a lost,lost loser, looking for the man that got away."
Although the song was written for a female character played by Garland, there is a version for a male singer " The Gal That Got Away." Frank Sinatra had a major hit with his version with a fine arrangement by Nelson Riddle.
Both Garland and Sinatra were performers who could invest great dramatic emphasis in their singing; poignant and believable and embodying the spirit and intent of the song's story.
Garland Link: http://www.youtube.com/watch?v=SYoc8h75KVM
Sinatra Link http://www.youtube.com/watch?v=f5W0ZOHopE8
Several other songs from A STAR IS BORN will be featured in the following several posts.
Although the song was written for a female character played by Garland, there is a version for a male singer " The Gal That Got Away." Frank Sinatra had a major hit with his version with a fine arrangement by Nelson Riddle.
Both Garland and Sinatra were performers who could invest great dramatic emphasis in their singing; poignant and believable and embodying the spirit and intent of the song's story.
Garland Link: http://www.youtube.com/watch?v=SYoc8h75KVM
Sinatra Link http://www.youtube.com/watch?v=f5W0ZOHopE8
Several other songs from A STAR IS BORN will be featured in the following several posts.
Thursday 12 December 2013
" FOR EVERYMAN THERE IS A WOMAN" Is that really true ?
" For Every Man There I s A Woman " Is that Really True ? There is a third Arlen//Leo Robin song from the movie Casbah. " For Every Man There Is A Woman" was described by Alec Wilder as a " moaner" in a minor key and many juicy harmonic changes.".Arlen himself described, as a "tapeworm" , any of his songs that exceeded the standard 32 bar format so entrenched in the popular song tradition. Wilder also felt that that "The song must be a singer's delight and surely an orchestrators."
In the 1948 film, while dancing with a lissome woman, Tony Martin provides a sensual interpretation of the song which is accompanied by an insinuating rhythmic pulse in the orchestration. This is quite fitting since the story is set in the exotic Casbah. Martin has a rich tenor voice unlike many of the current male Broadway leading men with their thin and reedy vocalizing. When you compare such current performers with leading theatre and movie singers like Howard Keele, John Raitt, Gordon McRae and Alfred Drake, somehow robust masculinity has gone missing and replaced by the new," sensitive" type male singer.
It's always interesting to see the dramatic context of a film or theatre song and, as you watch Martin , he is pitching some serious woo and actress Marta Toren is obviously seduced by Martin's persuasive interpretation and the romantic atmosphere of the nightclub.
Note: An earlier post described " It was Written In The Stars" as a song that pronounced the inevitability of fate in determining the human condition. " For Every Man There Is A Woman"
continues this theme of inevitability. However, we know that, as desirable as it would be for everyone to find that perfect mate, human experience does not guarantee such an optimistic outlook.
LINK: http://www.youtube.com/watch?v=43dqbN_IVN4
In the 1948 film, while dancing with a lissome woman, Tony Martin provides a sensual interpretation of the song which is accompanied by an insinuating rhythmic pulse in the orchestration. This is quite fitting since the story is set in the exotic Casbah. Martin has a rich tenor voice unlike many of the current male Broadway leading men with their thin and reedy vocalizing. When you compare such current performers with leading theatre and movie singers like Howard Keele, John Raitt, Gordon McRae and Alfred Drake, somehow robust masculinity has gone missing and replaced by the new," sensitive" type male singer.
It's always interesting to see the dramatic context of a film or theatre song and, as you watch Martin , he is pitching some serious woo and actress Marta Toren is obviously seduced by Martin's persuasive interpretation and the romantic atmosphere of the nightclub.
Note: An earlier post described " It was Written In The Stars" as a song that pronounced the inevitability of fate in determining the human condition. " For Every Man There Is A Woman"
continues this theme of inevitability. However, we know that, as desirable as it would be for everyone to find that perfect mate, human experience does not guarantee such an optimistic outlook.
LINK: http://www.youtube.com/watch?v=43dqbN_IVN4
Wednesday 11 December 2013
"WHAT'S GOOD ABOUT GOODBYE" THE TITLE SAYS IT ALL !
" What's Good About Goodbye?" The Title Says It All ! Another fine song from the 1948 movie Casbah is a sad reflection on the possible departure of a loved one. Of course, there are many fine songs that examine the unpredictable nature of a romance but Arlen and Leo Robin provide a subtle twist. Right at the beginning Robin wrote " What's good about goodbye ?/What's fair about farewell", a neat pairing of " fair" and " farewell."
Near the end of the song, there is a heartfelt plea stating " Say your mine forever, Say your mine but never say goodbye." ( The rhyming of "forever" with " never" is particularly adept.)
Edward Jablonski, Arlen's biographer described the song as " Typically Arlen in it's hopeful melancholy." As has been pointed out,, a number of Arlen's melodies begin in a minor and sober mood only to be suddenly positive at the beginning of the bridge or release. There is often a return to the original mood or tune in the final chorus but with an often different and surprising ending.
The version you will hear features Nancy LaMott, a perennial NYC cabaret favourite accompanied by a solo piano. She captures the hoped-for resolution at the end of the song. As a bonus, she then continues on the same theme with a more recent song by Allan and Marilyn Bergman, writers of romantic lyrics for Michel Legrand, Marvin Hamlisch and Johnny Mandel. "I'll Never Say Goodbye" is done with full orchestrate and is a more forceful and declarative promise that she " Will never say goodbye."
This pairing of two different songs, from two different eras, is tangible evidence that the Great American Songbook tradition of mature melodies and adult lyrics is still being honoured by contemporary writers.
LINK: http://www.youtube.com/watch?v=KAsfxd0wgCM
Near the end of the song, there is a heartfelt plea stating " Say your mine forever, Say your mine but never say goodbye." ( The rhyming of "forever" with " never" is particularly adept.)
Edward Jablonski, Arlen's biographer described the song as " Typically Arlen in it's hopeful melancholy." As has been pointed out,, a number of Arlen's melodies begin in a minor and sober mood only to be suddenly positive at the beginning of the bridge or release. There is often a return to the original mood or tune in the final chorus but with an often different and surprising ending.
The version you will hear features Nancy LaMott, a perennial NYC cabaret favourite accompanied by a solo piano. She captures the hoped-for resolution at the end of the song. As a bonus, she then continues on the same theme with a more recent song by Allan and Marilyn Bergman, writers of romantic lyrics for Michel Legrand, Marvin Hamlisch and Johnny Mandel. "I'll Never Say Goodbye" is done with full orchestrate and is a more forceful and declarative promise that she " Will never say goodbye."
This pairing of two different songs, from two different eras, is tangible evidence that the Great American Songbook tradition of mature melodies and adult lyrics is still being honoured by contemporary writers.
LINK: http://www.youtube.com/watch?v=KAsfxd0wgCM
Saturday 23 November 2013
"IT WAS WRTTEN IN THE STARS" MAGNIFICENT BUT UNHERALDED ARLEN SONG
" It Was Written In The Stars" Magnificent But Unheralded Arlen Song: Anyone who has read this blog and the 100 post blog " classicamericanpopularsong.blogspot.com "
knows how indebted and appreciative I have been and will always be to Alec Wilder for his ground breaking, comprehensive and enthusiastic tribute to classic American popular song. His influential book, American Popular Song The Great Innovators - 1900 1950 ( Oxford University Press New York 1972.) is still the most comprehensive analysis of that period that saw worldwide acceptance of American musical forms. For me personally, for more than thirty years, he has provided insight, perspective and definite opinions on over 17,000 songs deposited for copyright in that 1900-1950 time period. His unabashed love of this unique American cultural tradition shines through on every page and surely enlightens both the casual reader and the avid student of American popular song.
Wilder was a persistent and admiring advocate of Harold Arlen's unique compositional innovations expressing the heretical view that Arlen was even more a purely native product of the blues, jazz and Big Band music than George Gershwin. Gershwin was idolized by Arlen while Gershwin also flatly stated that " He ( Arlen) is the most original of us all."
However, I must take strong exception with Wilder's failure to include " It Was Written In The Stars" in the extensive and very positive analysis of Arlen's compositional output.
For the 1948 film " Casbah" starring Tony Martin, Arlen and lyricist Leo Robin wrote an evocative ballad with the self-descriptive title " It Was Written In The Stars",. It expressed a fatalistic view that whatever will be, must be. For The Harold Arlen Songbook featuring Ella Fitzgerald and arranger Billy May, Benny Green wrote liner notes that deftly pointed out the unique virtues of Arlen's songs and Ella's sensitive treatment of so many fine songs. Green stated that " Written In The Stars is one of those perfect marriages of words and music which happen far less often than people imagine." Green went on to exclaim that when Ella sings
Cloudy though the day be,
Crazy though I may be,
What the stars foretold shall be.
in her rendering of the phrase, she employs those lilting effects in her voice which imbue the whole with the qualities of a lullaby."
Since I was intrigued by Wilder's omitted commentary on this wonderful song, I went directly to the printed sheet music. In going over the piece again and again and listening repeatedly to the Fitzgerald performance, I stumbled upon one specific aspect of Arlen"s distinctive melodic approach. The song starts out with It Was written in the stars, What was written in the stars shall be. Normally, the usual pattern is to repeat the same phrase in the next section before introducing a different melodic line. Not so for Arlen. He starts out again with
It was written in the skies that the heart and not the eyes shall see. On the note for heart, Arlen raises the melody from the earlier G flat to A. That does not seem so remarkable but it strikes the ear which was anticipating a repeat of the earlier G flat.
It is just a small example of how Arlen can introduce a surprising and unexpected element in a song that sticks in the mind. Listen to the song and see if you agree that this slight introduction of an atypical avoidance of a repeated phrase does not somehow become a memorable moment. If not, listen to the rest of the song and Ella's gentle yet insistent probing of the influence of fate in human affairs concluding with " What the stars foretold shall be.-and so shall it be."
http://www.youtube.com/watch?v=YmeUYEk9CiI
LINK:
knows how indebted and appreciative I have been and will always be to Alec Wilder for his ground breaking, comprehensive and enthusiastic tribute to classic American popular song. His influential book, American Popular Song The Great Innovators - 1900 1950 ( Oxford University Press New York 1972.) is still the most comprehensive analysis of that period that saw worldwide acceptance of American musical forms. For me personally, for more than thirty years, he has provided insight, perspective and definite opinions on over 17,000 songs deposited for copyright in that 1900-1950 time period. His unabashed love of this unique American cultural tradition shines through on every page and surely enlightens both the casual reader and the avid student of American popular song.
Wilder was a persistent and admiring advocate of Harold Arlen's unique compositional innovations expressing the heretical view that Arlen was even more a purely native product of the blues, jazz and Big Band music than George Gershwin. Gershwin was idolized by Arlen while Gershwin also flatly stated that " He ( Arlen) is the most original of us all."
However, I must take strong exception with Wilder's failure to include " It Was Written In The Stars" in the extensive and very positive analysis of Arlen's compositional output.
For the 1948 film " Casbah" starring Tony Martin, Arlen and lyricist Leo Robin wrote an evocative ballad with the self-descriptive title " It Was Written In The Stars",. It expressed a fatalistic view that whatever will be, must be. For The Harold Arlen Songbook featuring Ella Fitzgerald and arranger Billy May, Benny Green wrote liner notes that deftly pointed out the unique virtues of Arlen's songs and Ella's sensitive treatment of so many fine songs. Green stated that " Written In The Stars is one of those perfect marriages of words and music which happen far less often than people imagine." Green went on to exclaim that when Ella sings
Cloudy though the day be,
Crazy though I may be,
What the stars foretold shall be.
in her rendering of the phrase, she employs those lilting effects in her voice which imbue the whole with the qualities of a lullaby."
Since I was intrigued by Wilder's omitted commentary on this wonderful song, I went directly to the printed sheet music. In going over the piece again and again and listening repeatedly to the Fitzgerald performance, I stumbled upon one specific aspect of Arlen"s distinctive melodic approach. The song starts out with It Was written in the stars, What was written in the stars shall be. Normally, the usual pattern is to repeat the same phrase in the next section before introducing a different melodic line. Not so for Arlen. He starts out again with
It was written in the skies that the heart and not the eyes shall see. On the note for heart, Arlen raises the melody from the earlier G flat to A. That does not seem so remarkable but it strikes the ear which was anticipating a repeat of the earlier G flat.
It is just a small example of how Arlen can introduce a surprising and unexpected element in a song that sticks in the mind. Listen to the song and see if you agree that this slight introduction of an atypical avoidance of a repeated phrase does not somehow become a memorable moment. If not, listen to the rest of the song and Ella's gentle yet insistent probing of the influence of fate in human affairs concluding with " What the stars foretold shall be.-and so shall it be."
http://www.youtube.com/watch?v=YmeUYEk9CiI
LINK:
Monday 18 November 2013
" HOORAY FOR LOVE" ARLEN TEAMS WITH LEO ROBIN ON THE FILM" CASBAH"
" Hooray for Love" Arlen teams with Leo Robin on the film " Casbah" In 1948, Universal Pictures produced a film based on an earlier French Film Pepe Le Moko.. It was a story about a romantic criminal who eventually sacrificed himself for the love of a woman. Pepe was played by Tony Martin, a fine singer with limited movie experience. Arlen found Leo Robin to be a sensitive and serious lyricist. The team produced several fine song for a movie that was not a box office hit with Hooray For Love being the best known song which is usually performed now as an up-tempo number.
Ella Fitzgerald completed a number of composer songbooks, including Jerome Kern , Gershwin, Cole Porter., Rodgers & Hart. Irving Berlin, Duke Ellington and this one featuring Harold Arlen's compositions.
Here Ella is backed by Billy May, master of the swinging big band sound and this is a bright affirmation on the joys of love, about which we should all shout " Hooray."
There is a tidy verse intro before the main chorus instantly shouts " Hooray, Hooray , Hooray for Love, Who was ever too blasé for love?"
LINK http://www.youtube.com/watch?v=UZASr4ox8ac
Ella Fitzgerald completed a number of composer songbooks, including Jerome Kern , Gershwin, Cole Porter., Rodgers & Hart. Irving Berlin, Duke Ellington and this one featuring Harold Arlen's compositions.
Here Ella is backed by Billy May, master of the swinging big band sound and this is a bright affirmation on the joys of love, about which we should all shout " Hooray."
There is a tidy verse intro before the main chorus instantly shouts " Hooray, Hooray , Hooray for Love, Who was ever too blasé for love?"
LINK http://www.youtube.com/watch?v=UZASr4ox8ac
Saturday 16 November 2013
" COME RAIN OR COME SHINE" - CLASSIC SONG FROM " ST. LOUIS WOMAN"
" Come Rain or Come Shine"- ClassIc Song From " St. Louis Woman"
" Come Rain or Come Shine" is the most familiar song from the 1946 musical and the last to be featured from that show. According to legend, Arlen and Mercer met to talk about numbers to fit into the musical, Arlen left Mercer and went into his living room where he had a Steinway piano on which he wanted to try a few ideas. He returned with a melody that contained some intriguing harmony and a conversational quality. Mercer thought for a second and came up with a first line " I'm gonna love like nobody's loved you...." to which Arlen added " Come Hell or high water," Mercer responded with what became the tiile of the song " Come rain or come shine." The song was completed that evening.
Alec Wilder, perhaps the most persistent advocate for the songs of Harold Arlen, argued that " It is a superb ballad which could never be so great unless the device of repeated notes were the principle single element in the melody. " In the second section, those repeated notes are left out introducing an essential contrast. Wilder also adds that " The harmony, naturally is opulent throughout. But the song can sing itself quite independently."
I am presenting two versions. The first is with singer Nora Jones performing with noted trumpet virtuoso Wynton Marsalis and a small jazz combo. It is performed as a jazz piece the way it would be sung in an intimate club or cabaret setting, more conversational and less dramatic than the second version. That has Frank Sinatra showing his wonderful dramatic way of bringing a story to life and backed by the exquisite string arrangement of Don Costa. Sinatra is able to convince us that he is singing this song directly to the listener so convincing is his passionate conviction as he concludes " I'm with you always, I'm with you rain or shine. Listen to how he holds the note " deep" so lovingly in the passage " Deep -----as a river, Come Rain or come shine."
These are two quite different interpretations of the song. One loose and slightly improvised, vocally and instrumentally ; the other, a dramatic reading , with minimal deviation from the written score. Both do justice to the Arlen/Mercer classic.
JONES/MARSALIS LINK: http://www.youtube.com/watch?v=MCj96k1A95g
SINATRA/DON COSTA LINK http://www.youtube.com/watch?v=cEhnbzReC3g
" Come Rain or Come Shine" is the most familiar song from the 1946 musical and the last to be featured from that show. According to legend, Arlen and Mercer met to talk about numbers to fit into the musical, Arlen left Mercer and went into his living room where he had a Steinway piano on which he wanted to try a few ideas. He returned with a melody that contained some intriguing harmony and a conversational quality. Mercer thought for a second and came up with a first line " I'm gonna love like nobody's loved you...." to which Arlen added " Come Hell or high water," Mercer responded with what became the tiile of the song " Come rain or come shine." The song was completed that evening.
Alec Wilder, perhaps the most persistent advocate for the songs of Harold Arlen, argued that " It is a superb ballad which could never be so great unless the device of repeated notes were the principle single element in the melody. " In the second section, those repeated notes are left out introducing an essential contrast. Wilder also adds that " The harmony, naturally is opulent throughout. But the song can sing itself quite independently."
I am presenting two versions. The first is with singer Nora Jones performing with noted trumpet virtuoso Wynton Marsalis and a small jazz combo. It is performed as a jazz piece the way it would be sung in an intimate club or cabaret setting, more conversational and less dramatic than the second version. That has Frank Sinatra showing his wonderful dramatic way of bringing a story to life and backed by the exquisite string arrangement of Don Costa. Sinatra is able to convince us that he is singing this song directly to the listener so convincing is his passionate conviction as he concludes " I'm with you always, I'm with you rain or shine. Listen to how he holds the note " deep" so lovingly in the passage " Deep -----as a river, Come Rain or come shine."
These are two quite different interpretations of the song. One loose and slightly improvised, vocally and instrumentally ; the other, a dramatic reading , with minimal deviation from the written score. Both do justice to the Arlen/Mercer classic.
JONES/MARSALIS LINK: http://www.youtube.com/watch?v=MCj96k1A95g
SINATRA/DON COSTA LINK http://www.youtube.com/watch?v=cEhnbzReC3g
Friday 15 November 2013
" I WONDER WHAT BECAME OF ME" -ART SONG FROM " ST.LOUIS WOMAN"
" I Wonder What Became of Me"-Art Song From " ST. Louis Woman"
In addition to " I Had Myself A True Love" there was another " art" song" written for St. Louis Woman, Lila's sad lament entitled " I Wonder What Became Of Me." Lila sang this number as she was taken away by police after shooting and killing Biglow Brown.
Such songs can be described as another form of anaria, songs that require a trained voice and like concert songs, sung formally on stage as part of a recital. Despite the beauty of the song, it was cut from the original production because it sounded similar to " I Had Myself a True Love" and who have also added more story complexity to an already cluttered libretto.
The song has continued to enjoy performances by a number of female singers including Audra McDonald who performed " I Had Myself A True Love" on an earlier post on this Arlen blog.
In contrast to McDonald's, formal concert style presentation, this version is by the sultry voiced jazz singer Chris Connor. It was recorded in a studio with large orchestral backing as opposed to just a piano accompaniment. Nonetheless, Connor conveys the inherent sadness and reflective tone of Mercer's lyrics. This presentation i further proof that a good song ( versus a " hit" song) is capable of providing a variety of performances, all of which must do appropriate justice to the music and lyrics.
Connor Link: http://www.youtube.com/watch?v=8_UsZyjMUEk
In addition to " I Had Myself A True Love" there was another " art" song" written for St. Louis Woman, Lila's sad lament entitled " I Wonder What Became Of Me." Lila sang this number as she was taken away by police after shooting and killing Biglow Brown.
Such songs can be described as another form of anaria, songs that require a trained voice and like concert songs, sung formally on stage as part of a recital. Despite the beauty of the song, it was cut from the original production because it sounded similar to " I Had Myself a True Love" and who have also added more story complexity to an already cluttered libretto.
The song has continued to enjoy performances by a number of female singers including Audra McDonald who performed " I Had Myself A True Love" on an earlier post on this Arlen blog.
In contrast to McDonald's, formal concert style presentation, this version is by the sultry voiced jazz singer Chris Connor. It was recorded in a studio with large orchestral backing as opposed to just a piano accompaniment. Nonetheless, Connor conveys the inherent sadness and reflective tone of Mercer's lyrics. This presentation i further proof that a good song ( versus a " hit" song) is capable of providing a variety of performances, all of which must do appropriate justice to the music and lyrics.
Connor Link: http://www.youtube.com/watch?v=8_UsZyjMUEk
Thursday 14 November 2013
PEARL BAILEY PROCLAIMS " IT'S A WOMANS PREROGATIVE ( TO CHANGE HER MIND")
Pearl Bailey Proclaims " It's A Woman's Prerogative ( To Change Her Mind ")
In the original 1946 version of Arlen and Mercer's " St. Louis Woman " Pearl Bailey wowed the audience playing the role of Butterfly. The character was a saucy and strong-willed person who was involved with Barney Little Augie's consistently losing rival jockey. Earlier in the show, Butterfly confronted Barney demanding that he make their relationship permanent and suggesting she might be withholding future pleasures from Barney. " Legalize My Name" is a defiant woman's laying down the law to a man ignoring that dreaded " C" word called commitment. Bailey has the natural strength, confidence and ingratiating wit to really sell this song and its' emphatic message.
Bailey would later appear in Arlen and Truman Capote's House of Flowers " putting her strong personality on display as Madame Fleur, the Madam of a " house of pleasure."
Bailey is a very distinctive personality and song stylist and that comes through in both songs she introduced in " St. Louis Woman."
LINK: PEARL BAILEY: http://www.youtube.com/watch?v=N6n13f5BvC8
In the original 1946 version of Arlen and Mercer's " St. Louis Woman " Pearl Bailey wowed the audience playing the role of Butterfly. The character was a saucy and strong-willed person who was involved with Barney Little Augie's consistently losing rival jockey. Earlier in the show, Butterfly confronted Barney demanding that he make their relationship permanent and suggesting she might be withholding future pleasures from Barney. " Legalize My Name" is a defiant woman's laying down the law to a man ignoring that dreaded " C" word called commitment. Bailey has the natural strength, confidence and ingratiating wit to really sell this song and its' emphatic message.
Bailey would later appear in Arlen and Truman Capote's House of Flowers " putting her strong personality on display as Madame Fleur, the Madam of a " house of pleasure."
Bailey is a very distinctive personality and song stylist and that comes through in both songs she introduced in " St. Louis Woman."
LINK: PEARL BAILEY: http://www.youtube.com/watch?v=N6n13f5BvC8
Wednesday 13 November 2013
AUDRA McDONALD SINGS " I HAD MYSELF A TRUE LOVE" FROM " ST. LOUIS WOMAN"
Audra McDonald sings " I Had Myself A True Love" from " St. Louis Woman." The musical has a number of love conflicts highlighted in songs like "Anyplace I hang My Hat is Home" , sung by Della Reese, who , for the moment, is attached to Biglow Brown, saloonkeeper who has discarded his former mistress Lila. She still wants to stay with Biglow despite his rejection. In the song " I Had Myself a True Love" Lila laments the loss of Brown's affection and his brutal and callous treatment. The song is long and is almost an art song or aria in its ability to juxtapose both sweet and tender sentiments as well as righteous anger. However, the song never becomes excessively emotional and the performance is expressive but vocally controlled.
Audra McDonald, the star of " Ragtime" and a recent revival of " Porgy and Bess" conveys Lila's confused emotional state which, ultimately, causes her to shoot Biglow Brown, annact that causes other complications in the story. The song is performed in the style and with the accompaniment characteristic of a concert stage performance and is extremely moving.
LINK: McDonald: http://www.youtube.com/watch?v=_VDR6IzRtdY
Audra McDonald, the star of " Ragtime" and a recent revival of " Porgy and Bess" conveys Lila's confused emotional state which, ultimately, causes her to shoot Biglow Brown, annact that causes other complications in the story. The song is performed in the style and with the accompaniment characteristic of a concert stage performance and is extremely moving.
LINK: McDonald: http://www.youtube.com/watch?v=_VDR6IzRtdY
Monday 11 November 2013
PEARL BAILEY SINGS " LEGALIZE MY NAME" FROM " ST. LOUIS WOMAN"
Pearl Bailey sings" Legalize My Name" from " St. Louis Woman" Pearl Bailey plays the role of Butterfly, a caustic employee of Biglow Brown's salon. She has been involved with Barney,a jockey who always loses to Little Augie. Barney was played by Fayard Nicholas, the brother of Harold Nicholas playing Little Augie. (The Nicholas Brothers were a famous night club and film dance act known for their spectacular acrobatic routines.)
Butterfly is determined to have a more permanent relationship with Barney and withholds her more enticing favours until Barney comes through. " Legalize My Name" is a pointed demand delivered in the direct and comic style for which Peal Bailey had become famous. A veteran of vaudeville and night clubs, Bailey also had sung with the Count Basie Band and was known for her wit and timing in comedy numbers like " Legalize My name" .
Mercer's lyrics are steeped in the vernacular of the time and region and reflect his comfort with Afro American and southern colloquial expressions.
NOTE: Pearl Bailey would also feature prominently in a subsequent Harold Arlen and Truman Capote musical " House of Flowers."
LINK: http://www.youtube.com/watch?v=6nLI7CudZwA
Butterfly is determined to have a more permanent relationship with Barney and withholds her more enticing favours until Barney comes through. " Legalize My Name" is a pointed demand delivered in the direct and comic style for which Peal Bailey had become famous. A veteran of vaudeville and night clubs, Bailey also had sung with the Count Basie Band and was known for her wit and timing in comedy numbers like " Legalize My name" .
Mercer's lyrics are steeped in the vernacular of the time and region and reflect his comfort with Afro American and southern colloquial expressions.
NOTE: Pearl Bailey would also feature prominently in a subsequent Harold Arlen and Truman Capote musical " House of Flowers."
LINK: http://www.youtube.com/watch?v=6nLI7CudZwA
Friday 8 November 2013
" ANY PLACE I HANG MY HAT IS HOME" ANOTHER FINE SONG FROM "ST. LOUIS WOMAN"
" Any Place I Hang My Hat is Home." Another Fine Song from " St. Louis Woman" Picking up the story, Della Green is temporarily living with the violent saloon -keeper Bigelow Brown. Despite her current relationship, Dell is a independent spirit who eventually falls in love with Little Augie.. In thIs song, Della explains her philosophy of life which is do whatever you like and move on " When the spirit moves me." The music and the lyrics capture the free and easy spirit of Della Green to act as she proclaims" When the spirit moves me."
Audra McDonald, Broadway's current performing diva, brings the relaxed and confident personality of Della Greene to her performance. Audra will also be performing other songs from this show as she has a great love and affinity for both Arlen and Mercer's theatrical creations.
As is my custom, I also like to present the creators singing their own songs .Here is Johnny Mercer, the Southern " savant" , singing in his inimitable relaxed style. Mercer was intimately familiar with how both black and white citizens in St. Louis fashioned their own unique colloquial vernacular like " Howdy do me, watch me smile" Fare thee well me, after a while." .He creates an authentic regional atmosphere that permeates the entire score and as one lyric line states " Thank you kindly ( Johnny Mercer -your lyrics) suits me fine ! "
NOTE: There was a 1998 revival of St. Louis Woman by NYC City Center Encores ! that resulted in a fine recording on Mercury Records featuring Vanessa Williams as Della Green.
Audra Link:
http://www.youtube.com/watch?v=2__AEcVZC0A
Mercer Link: http://www.youtube.com/watch?v=ATqG9dOpAT0
Audra McDonald, Broadway's current performing diva, brings the relaxed and confident personality of Della Greene to her performance. Audra will also be performing other songs from this show as she has a great love and affinity for both Arlen and Mercer's theatrical creations.
As is my custom, I also like to present the creators singing their own songs .Here is Johnny Mercer, the Southern " savant" , singing in his inimitable relaxed style. Mercer was intimately familiar with how both black and white citizens in St. Louis fashioned their own unique colloquial vernacular like " Howdy do me, watch me smile" Fare thee well me, after a while." .He creates an authentic regional atmosphere that permeates the entire score and as one lyric line states " Thank you kindly ( Johnny Mercer -your lyrics) suits me fine ! "
NOTE: There was a 1998 revival of St. Louis Woman by NYC City Center Encores ! that resulted in a fine recording on Mercury Records featuring Vanessa Williams as Della Green.
Audra Link:
http://www.youtube.com/watch?v=2__AEcVZC0A
Mercer Link: http://www.youtube.com/watch?v=ATqG9dOpAT0
Wednesday 6 November 2013
TONY BENNETT & BILL EVANS-THE ULTIMATE COLLABORATION
Tony Bennett & Bill Evans--The Ultimate Collaboration:
NOTE: Although this blog is devoted to the life and career of Harold Arlen, I wanted to showcase what happens when two jazz artists, a singer and a great pianist combine to produce a stunning work of art. Arlen's own accompaniment of his singing some of his own songs also demonstrates the piano and voice collaboration.
Tony Bennett has always been influenced by and supportive of jazz music collaborating with a number of jazz musicians and superb jazz composers and arrangers like Johnny Mandel. In the 1970's, Bennett collaborated with the great Bill Evans, a major jazz pianist who has influenced many pianists attracted to his consummate lyricism, sensitivity and harmonic development.
They went into a studio and without any pre planning, Evans instantly developed different approaches to song standards that led to two complete CD's. Bennett was captivated by Evans creativity and his immaculate support of his own singing. Bennett has said that " Evans played like an ocean in a storm" inspiring Bennett to even greater improvisational heights. The two artists became one in their performance and both felt that this was one of the supreme musical moments in their lengthy careers.
The song featured is Ray Noble's " The Touch of Your Lips" a song that Evans had always maintained in his repertoire. Evans spurs Bennett to even greater expressiveness achieving an intensity that is captivating and memorable.
I have repeatedly described the ability of a singer and a great accompanist to achieve almost an orchestral feeling with the singer delivering the melody and the pianist supplying the rhythmic and harmonic underpinning. This performance is yet another example of such supreme musical synergy.
LINK: http://www.youtube.com/watch?v=QuDx1hwKuXA
NOTE: Although this blog is devoted to the life and career of Harold Arlen, I wanted to showcase what happens when two jazz artists, a singer and a great pianist combine to produce a stunning work of art. Arlen's own accompaniment of his singing some of his own songs also demonstrates the piano and voice collaboration.
Tony Bennett has always been influenced by and supportive of jazz music collaborating with a number of jazz musicians and superb jazz composers and arrangers like Johnny Mandel. In the 1970's, Bennett collaborated with the great Bill Evans, a major jazz pianist who has influenced many pianists attracted to his consummate lyricism, sensitivity and harmonic development.
They went into a studio and without any pre planning, Evans instantly developed different approaches to song standards that led to two complete CD's. Bennett was captivated by Evans creativity and his immaculate support of his own singing. Bennett has said that " Evans played like an ocean in a storm" inspiring Bennett to even greater improvisational heights. The two artists became one in their performance and both felt that this was one of the supreme musical moments in their lengthy careers.
The song featured is Ray Noble's " The Touch of Your Lips" a song that Evans had always maintained in his repertoire. Evans spurs Bennett to even greater expressiveness achieving an intensity that is captivating and memorable.
I have repeatedly described the ability of a singer and a great accompanist to achieve almost an orchestral feeling with the singer delivering the melody and the pianist supplying the rhythmic and harmonic underpinning. This performance is yet another example of such supreme musical synergy.
LINK: http://www.youtube.com/watch?v=QuDx1hwKuXA
Tuesday 29 October 2013
"ST. LOUIS WOMAN" A MUSICAL WITH GREAT SONGS
" St. Louis Woman" A Musical With Great Songs: Having had success with E.Y.Harburg in creating " Bloomer Girl ", Harold Arlen now considered collaborating with Johnny Mercer on a musical version of little-known play God Sends Sunday. The play was based on a novel by Arna Bontemps who converted the novel in a collaboration with Countee Cullen. Both authors were part of the Harlem Renaissance movement which led to the emergence of African American writing in the 1920's.
Set in turn-of-the-century St. Louis, it tells the story of Little Augie, a black jockey who falls in love with the sultry Della Greene. She is the property of Biglow Brown, a saloon owner who is shot by a former mistress. Brown believes that Little Augie shot him and places a dying man's curse on the superstitious jockey. Little Augie's winning streak comes to an end and the ever fickle Della leaves him. Ultimately, Della and Little Augie are rejoined in a happy ending.
The musical provides a number of excellent songs, beautiful costumes, colourful characters and settings like stables, a bar, a funeral parlor and a ballroom. Given the earlier success of
Porgy and Bess , an all-black cast seemed logical and commercially viable.
There are a number of songs to be presented in the correct sequence allowing the listener to follow the various characters and the storyline.
The first song is " L'il Augie Is a Natural Man." introduces the main male character who brags of his prowess and luck as a jockey. In the original 1946 production, he was played by Harold Nichols, one half of the fabulous Nichols Brothers dance team. His brother Fayard played a rival jockey and, at one time, was married to actress/.singer ,Dorothy Dandridge.
The song is performed by Johnny Mercer, lyricist. He created the colourful and authentic
Afro American vernacular of such phrases as " Sleep Peaceful Mr. Used to be" .Even the song titles like " Any Place I Hang My Hat Is Home" " Come Rain Or Come Shine" 'Ridin' on the Moon' are replete with local colour . Mercer, a true Southern boy is right at home not only with his own lyrics but the exuberant performing styles of black performers ,
MERCER LINK: http://www.youtube.com/watch?v=Uf3EFOS0r6U
Set in turn-of-the-century St. Louis, it tells the story of Little Augie, a black jockey who falls in love with the sultry Della Greene. She is the property of Biglow Brown, a saloon owner who is shot by a former mistress. Brown believes that Little Augie shot him and places a dying man's curse on the superstitious jockey. Little Augie's winning streak comes to an end and the ever fickle Della leaves him. Ultimately, Della and Little Augie are rejoined in a happy ending.
The musical provides a number of excellent songs, beautiful costumes, colourful characters and settings like stables, a bar, a funeral parlor and a ballroom. Given the earlier success of
Porgy and Bess , an all-black cast seemed logical and commercially viable.
There are a number of songs to be presented in the correct sequence allowing the listener to follow the various characters and the storyline.
The first song is " L'il Augie Is a Natural Man." introduces the main male character who brags of his prowess and luck as a jockey. In the original 1946 production, he was played by Harold Nichols, one half of the fabulous Nichols Brothers dance team. His brother Fayard played a rival jockey and, at one time, was married to actress/.singer ,Dorothy Dandridge.
The song is performed by Johnny Mercer, lyricist. He created the colourful and authentic
Afro American vernacular of such phrases as " Sleep Peaceful Mr. Used to be" .Even the song titles like " Any Place I Hang My Hat Is Home" " Come Rain Or Come Shine" 'Ridin' on the Moon' are replete with local colour . Mercer, a true Southern boy is right at home not only with his own lyrics but the exuberant performing styles of black performers ,
MERCER LINK: http://www.youtube.com/watch?v=Uf3EFOS0r6U
Monday 28 October 2013
" THE EAGLE AND ME"--EMANCIPATION ANTHEM
" The Eagle And Me"-Emancipation Anthem: " Bloomer Girl" wove two dominant themes into the 1943 stage musical. Women's rights and freedom from slavery. A runaway slave sings this positive expression of people with the need and the right to be free. Set in 1860, as the Civil War began, emancipation was a principle held by President Lincoln against the staunch resistance of slave owners, mainly in the Southern states. The stage production was in 1943, at a time when there were savage race riots in Detroit, Mobile Alabama and Harlem. Blacks serving in the Armed Services were still segregated and fighting for equality with their own government. These race relations issues were very prominent at the time Bloomer Girl was launched.
The part of the runaway slave was played by Dooley Wilson,( Sam, the piano player in the film " Casablanca." )He begins with an introductory verse that sets the stage for his eloquent plea for freedom in the refrain.
Free as the sun is free
That's how it's gotta be
Whatever' s right for bumble bee
And river and eagle is right for me
We gotta be free
The eagle and me !
No doubt Dooley Wilson had been scarred by his own experiences growing up in a segregated America although he did have a decent career as an entertainer, a career that blacks were allowed to pursue as long as they were not considered to be " Too Uppity and knowing their place."
It is a fetching and emotionally rich performance that surely resonated with the audience as it should for listeners today.
Carmen McRea also sings a more up-tempo, jazzy version that is no less effective than Dooley Wilson's earlier recording.
Dooley Wilson Link:
http://www.youtube.com/watch?v=i0Zad8aC4Bg
Carmen McRae Link:
http://www.youtube.com/watch?v=C3QTjzWUCGQ
The part of the runaway slave was played by Dooley Wilson,( Sam, the piano player in the film " Casablanca." )He begins with an introductory verse that sets the stage for his eloquent plea for freedom in the refrain.
Free as the sun is free
That's how it's gotta be
Whatever' s right for bumble bee
And river and eagle is right for me
We gotta be free
The eagle and me !
No doubt Dooley Wilson had been scarred by his own experiences growing up in a segregated America although he did have a decent career as an entertainer, a career that blacks were allowed to pursue as long as they were not considered to be " Too Uppity and knowing their place."
It is a fetching and emotionally rich performance that surely resonated with the audience as it should for listeners today.
Carmen McRea also sings a more up-tempo, jazzy version that is no less effective than Dooley Wilson's earlier recording.
Dooley Wilson Link:
http://www.youtube.com/watch?v=i0Zad8aC4Bg
Carmen McRae Link:
http://www.youtube.com/watch?v=C3QTjzWUCGQ
Sunday 27 October 2013
RIGHT AS THE RAIN -FINE " BLOOMER GIRL" BALLAD
"Right As The Rain" --Fine " Bloomer Girl" Ballad: Despite their pre-marital squabbling, Evalina and her Southern suitor and their significant different attitudes and beliefs, Evalina and Jeffrey realize that they were made for each other and despite the uncertainty brought about by the tragic Civil War,,there is a concluding tender duet between the two lovers. "Right As The Rain" is a song that demonstrates Arlen's ability to write a pure melody, one that flows seamlessly to not just one conclusion but a second new ending theme. Initially the song concludes with " It's right as the rain that falls from above and fills the world with the bloom of our love." That would normally constitute a fitting ending to the song. But Arlen, ever the master of a unique approach to composition, allows for a brief instrumental pause before the lovers conclude with " If rain must fall and day must dawn, this love, this love must go on." Once again the composer and the poet/lyricist Harburg, create an artful and compelling ballad.
I believe it is appropriate to hear both a male and a female version although if you return to the previous post, with the Barbara Cook and Keith Andes version of " Evalina", the video continues and they sing the love duet " Right As the Rain" with acting that supports the dramatic aspects of the musical itself.
Leontyne Price, the noted opera and concert singer combined with arranger/conductor Andre Previn to create an intense but controlled version of the Evalina role.
The second version is by Jack Jones, a pop singer and son of Allan Jones who appeared in a number of big budget Hollywood musicals. Jack Jones sings with the convincing ardour that Jeffrey Calhoun would have demonstrated in the stage version.
Note: These two different styles and approaches demonstrate that there are a number of different ways that a song can be effectively presented-the formal restraint of the classical style and the more relaxed and informal pop singer style are equally valid. All that is required is that any singer must understand and believe in the composition and the story told in the lyrics while adding their own unique understanding and interpretation.
LEONTYNE PRICE LINK: http://www.youtube.com/watch?v=D5PFLogttFE
jACK JONES LINK: http://www.youtube.com/watch?v=hFgOEwxrrvo
I believe it is appropriate to hear both a male and a female version although if you return to the previous post, with the Barbara Cook and Keith Andes version of " Evalina", the video continues and they sing the love duet " Right As the Rain" with acting that supports the dramatic aspects of the musical itself.
Leontyne Price, the noted opera and concert singer combined with arranger/conductor Andre Previn to create an intense but controlled version of the Evalina role.
The second version is by Jack Jones, a pop singer and son of Allan Jones who appeared in a number of big budget Hollywood musicals. Jack Jones sings with the convincing ardour that Jeffrey Calhoun would have demonstrated in the stage version.
Note: These two different styles and approaches demonstrate that there are a number of different ways that a song can be effectively presented-the formal restraint of the classical style and the more relaxed and informal pop singer style are equally valid. All that is required is that any singer must understand and believe in the composition and the story told in the lyrics while adding their own unique understanding and interpretation.
LEONTYNE PRICE LINK: http://www.youtube.com/watch?v=D5PFLogttFE
jACK JONES LINK: http://www.youtube.com/watch?v=hFgOEwxrrvo
Saturday 26 October 2013
"BLOOMER GIRL" ARLEN'S FIRST BROADWAY MUSICAL
" Bloomer Girl: " Arlen's First Broadway Musical: Although life was easy and lucrative for Arlen and Harburg in Hollywood, they were never that involved in the production of the film. They were told to create songs to fit a situation decreed by the screenwriters and directors. In many cases, their songs were far superior to some of the wartime films on which they worked. Both became frustrated at being songwriters for hire and longed for a fuller creative involvement in the stories being told. Creating a full-blown stage musical was something that came to life when Arlen was given a script by Lilith and Dan James. The essence of the story was a crusade for women's rights and the abolition of slavery. Dolly Bloomer was Amelia Jenks Bloomer who designed a knee-length skirt which would replace the old-fashioned hoop skirt. In the play,Evalina is a young niece of Dolly Bloomer whose father is a wealthy industrialist. He is set to arrange a marriage with an aristocratic, Southern slave owner .. Edward Jablonski, Arlen's biographer wrote that the plays " "Themes , touching on the plight of women and blacks in the United States, were enlightened even in 1944." As the couple debate their opposite beliefs regarding womens rights and the issue of slavery, Arlen and Harburg wrote a lovely period -style tune called " Evalina." In it, the ardent suitor cajoles a feisty Evalina with such sweet talk as " Tell me, tell me how long, Ya gonna keep delayin the day, Dont't ya reckon its wrong , Triflin' with April this way?" Fortunately, there is an early television version of " Evalina" featuring a duet between a young Barbara Cook and Keith Andes, a fine actor and singer. It effectively depicts the courting rituals of the mid-nineteenth century and is a delight to witness. There is an authenticity to the scene that is a tribute to the ability of the composer and lyricist to understand and re create the courtly customs of yesteryear.
Note: It's a fairly long segment but the first 4 minutes provide the essence of the song which has a captivating simplicity. If you continue after the conclusion of " Evalina ", you can hear the love duet " Right As The Rain" which is described in more details in the post hat follows this segment.
" Evalina" Link': http://www.youtube.com/watch?v=gdcXbcji9Co
Note: It's a fairly long segment but the first 4 minutes provide the essence of the song which has a captivating simplicity. If you continue after the conclusion of " Evalina ", you can hear the love duet " Right As The Rain" which is described in more details in the post hat follows this segment.
" Evalina" Link': http://www.youtube.com/watch?v=gdcXbcji9Co
Monday 21 October 2013
"OUT OF THIS WORLD" LAST WARTIME FILM EFFORT
"Out Of This World" -Last Wartime film effort. In 1945, Arlen and Mercer completed their final flag-waving film called Out Of This World. It was a trite attempt to capitalize on the swooning bobby soxer craze a la Sinatra popularity. Eddy Bracken, a comic actor plays a shy messenger boy who is shoved onstage at a benefit concert. When he starts to sing, he sounds just like Bing Crosby who actually provides the vocal rendition. Despite the silliness of the film's premise, Alec Wilder praises the " Long lined ballad that does not have a verse as the main chorus instantly sets up a misterioso out-of-this-world mood. It is one of Arlen's most direct and deliberately unrhythmic melodies and unlike any of his other lyric ballads. It is a very strong song,with splendid support in a John Mercer ;lyric."
Tony Bennett provides a sensitive performance in keeping with both the ethereal melody and the the unrestrained worship of the love object. The arrangement also manages to capture the exotic mood of the song . t
POSTSCRIPT: I also found a fine Lena Horne version in which the singer demonstrates her dramatic talent transforming a song into a personal expression. Both versions feature a strong rhythm to underscore the tension inherent in the song itself.
Bennett Link http://www.youtube.com/watch?v=xlOTv2AmPY4
Horne Version: http://www.youtube.com/watch?v=Ua6-a-Jb2O8
Tony Bennett provides a sensitive performance in keeping with both the ethereal melody and the the unrestrained worship of the love object. The arrangement also manages to capture the exotic mood of the song . t
POSTSCRIPT: I also found a fine Lena Horne version in which the singer demonstrates her dramatic talent transforming a song into a personal expression. Both versions feature a strong rhythm to underscore the tension inherent in the song itself.
Bennett Link http://www.youtube.com/watch?v=xlOTv2AmPY4
Horne Version: http://www.youtube.com/watch?v=Ua6-a-Jb2O8
Saturday 19 October 2013
" AC -CENT--TCHU-ATE THE POSITIVE" ARLEN AND MERCER SCORE AGAIN
" Ac--Cent-Tchu-Ate The Positive" Arlen and Mercer Score Again ! In 1944, Arlen and Merce againt teamed in another wartime film called Here Come The Waves . There was a big drive to enlist both women ( as Waves) and men into Navy service as the war effort ramped up, especially in the Pacific arena. It is an infectious, rousing melody and matched by Mercer's use of sermon-like invocations to " Eliminate the Negative." The song is still quite popular despite the fact that the film version has Crosby and Sonny Tufts in blackface.
It is embarrassing to see such a stereotypical portrayal given today's more enlightened attitudes but it is worth seeing because it is a historical fact. Crosby as a mailman and Sonny Tufts as a uniformed doorman do perform well despite the overly drawn, so-called black singing styles. The production number, done as part of an actual stage show, is quite well done with imaginative choreography generating quite a positive atmosphere on the stage scene from the film.
As a contrast, listen to Johnny Mercer sing his own song with the Pied Pipers.
It reflects his deep Southern heritage without descending into a paternalistic imitation of gospel sincerity. Mercer also sings the verse which is an important element insetting the stage for the " sermon" abut to be delivered to . again. "Eliminate the Negative."
Crosby/Tufts Link:
http://www.youtube.com/watch?v=7GLz5OjosOo
Mercer Link:
http://www.youtube.com/watch?v=f3jdbFOidds
9 referring to
Friday 18 October 2013
"ONE FOR MY BABY"- A SONG STILL TRAVELS THAT LONG,LONG MUSICAL " ROAD"
" One for my Baby:--A song that still travels that long, long, musical "road:" Arlen and Mercer created another classic song for the film " The Sky's The Limit." Unlike the serene and almost classical ballad form of " My Shining Hour:, they fashioned what has aoften been called the definitive saloon song. " One For My Baby" ( and One More For The Road) begins with what biographer Edward Jablonski said that " The song begins with one of the most original first lines ever written, It's quarter to three" as he unburdens himself to Joe , the bartender."
Alec Wilder, a very pro Arlen advocate, was never certain of the reasons for the song's universal popularity. He always felt that the lyrics, as they unfold tell the sad and bitter tale of the man who laments that " This torch that I've found, Must be drowned or it soon might explode". In addition to the evocative nature of the love-lost character Mercer's words, the melody has a late-night saloon character which Jablonski claimed was due to the fact that" "Arlen was one of the few white musicians who could play these authentic styles ; not even Gershwin equaled Arlen in playing the blues."
In the film. Astaire is depressed because of his breakup with Joan Leslie. He starts drinking heavily. He dances off his frustration and starts demolishing glasses and finally shattering the large mirror behind the bar
Astaire's violent drunken behaviour is totally at odds with Frank Sinatra's iconic performances. Sinatra not only sings the song but acts out the words during his live performances. His is one of the most memorable combination of singing and acting to be found in twentieth century popular music. Sinatra makes us believe in the anguish that he portrays so convincingly as he ends the song singing " Make it one for my baby, and one more for the road-That long,( it's so long,) long road" while the piano accompaniment slowly plays out a 4 bar resolution of the song.
The Capitol studio recorded version, with Nelson Riddle ,is also interesting and is added for comparative purposes.
ASTAIRE LINK: http://www.youtube.com/watch?v=FD7sqGJ3NBg
SINTRA LIVE LINK: http://www.youtube.com/watch?v=LJpJoYYGzjM
RIDDLE STUDIO VERSION: http://www.youtube.com/watch?v=VOHvxxEIE3o
Alec Wilder, a very pro Arlen advocate, was never certain of the reasons for the song's universal popularity. He always felt that the lyrics, as they unfold tell the sad and bitter tale of the man who laments that " This torch that I've found, Must be drowned or it soon might explode". In addition to the evocative nature of the love-lost character Mercer's words, the melody has a late-night saloon character which Jablonski claimed was due to the fact that" "Arlen was one of the few white musicians who could play these authentic styles ; not even Gershwin equaled Arlen in playing the blues."
In the film. Astaire is depressed because of his breakup with Joan Leslie. He starts drinking heavily. He dances off his frustration and starts demolishing glasses and finally shattering the large mirror behind the bar
Astaire's violent drunken behaviour is totally at odds with Frank Sinatra's iconic performances. Sinatra not only sings the song but acts out the words during his live performances. His is one of the most memorable combination of singing and acting to be found in twentieth century popular music. Sinatra makes us believe in the anguish that he portrays so convincingly as he ends the song singing " Make it one for my baby, and one more for the road-That long,( it's so long,) long road" while the piano accompaniment slowly plays out a 4 bar resolution of the song.
The Capitol studio recorded version, with Nelson Riddle ,is also interesting and is added for comparative purposes.
ASTAIRE LINK: http://www.youtube.com/watch?v=FD7sqGJ3NBg
SINTRA LIVE LINK: http://www.youtube.com/watch?v=LJpJoYYGzjM
RIDDLE STUDIO VERSION: http://www.youtube.com/watch?v=VOHvxxEIE3o
Thursday 17 October 2013
" MY SHINING HOUR" THE TITLE ALSO DESCRIBES THIS ARLEN/MERCER CREATION
"My Shining Hour" The Title also describes this Arlen/Mercer creation: In 1943, America was fully engaged inWW11. As usual, Hollywood jumped on the patriotic bandwagon and churned quite a number of war related films. " My Shining Hour" was a more dramatic movie than some of the fluffy All Star movies like " Star Spangled Rhythm ." Fred Astaire plays a pilot on leave back in America. He runs into night club singer, played by 18 year old Joan Leslie. They danced together and he follows her home while she resists his attempts to gain her approval. She believes he is a slacker, unaware that he has served in battle. As they walk to her residence, Fred tries to convince her that " My Shining Hour" the song she sang earlier , was too serious and offered a lighter version in which he rhymes " hour" with " Mischa Auer: as well as offering " Was it stingers or Bacardis? " to which she retorts " Was it Tony's or was it Sardi's ? "
It is a tender and lovely scene in a wartime context as they begin to warm towards each other. Arlen's biographer, Edward Jablonski wrote that the song has " A direct, melodic simplicity and a lyric to match the melody with pure, simple poetry as an expression of wartime uncertainty." Alec Wilder added that the song " Achieves the objective of, let us say, sexless innocence and distilled simplicity."
The first performance is the scene from the film showing the walk to Leslie's home and the lighter version of the song Leslie sang earlier in the nightclub
The second performance features Margaret Whiting around a piano accompanied by Michael Feinstein as part of a musical tribute to Arlen on the Larry King Show. As a young girl, Whiting grew up around a number of Hollywood composers like Jerome Kern, George and Ira Gershwin Harry Warren and Arlen, Harburg and Mercer. Her father, Richard Whiting was a collaborator with Kern , Mercer and others .She actually heard a number of famous songs at Hollywood parties long before they were ever recorded.
.
Astaire Leslie Link: http://www.youtube.com/watch?v=zj9UMnM8cP8
http://www.youtube.com/watch?v=895N9LGrKJ4
Whiting Link:
It is a tender and lovely scene in a wartime context as they begin to warm towards each other. Arlen's biographer, Edward Jablonski wrote that the song has " A direct, melodic simplicity and a lyric to match the melody with pure, simple poetry as an expression of wartime uncertainty." Alec Wilder added that the song " Achieves the objective of, let us say, sexless innocence and distilled simplicity."
The first performance is the scene from the film showing the walk to Leslie's home and the lighter version of the song Leslie sang earlier in the nightclub
The second performance features Margaret Whiting around a piano accompanied by Michael Feinstein as part of a musical tribute to Arlen on the Larry King Show. As a young girl, Whiting grew up around a number of Hollywood composers like Jerome Kern, George and Ira Gershwin Harry Warren and Arlen, Harburg and Mercer. Her father, Richard Whiting was a collaborator with Kern , Mercer and others .She actually heard a number of famous songs at Hollywood parties long before they were ever recorded.
.
Astaire Leslie Link: http://www.youtube.com/watch?v=zj9UMnM8cP8
http://www.youtube.com/watch?v=895N9LGrKJ4
Whiting Link:
HAPPINESS IS JUST A THING CALLED JOE
Happiness Is Just A Thing Called Joe: In 1940, an original stage musical called Cabin In The Sky" opened on Broadawy. It starred the transcendent Ethel Water as Petunia in love with Little Joe, played by Dooley Wilson. Lena Horne played the temptress Georgia Brown seducing Little Joe.The Devil, played by Rex Ingram was behind these shenanigans all the while.
In 1943, a film with the same name was released again starring Waters, Horne and Rex Ingram in their original roles. Eddie( Rochester) Anderson played Little Joe. Director Vincente Minnelli wanted a song to show Petunia's love for the wayward Little Joe. Harold Arlen and E.Y Harburg collaborated on " Happiness is just a thing called Joe" with Ethel Waters demonstrating compassion, her wonderful singing voice and dramatic skill recreating her original role. Louis Armstrong and Duke Ellington also appeared in the film.
The song has a lengthy verse that that sings of " Skies ain't gonna cloud no more, the crops ain't gonna fail no more" because " A certain man with eyes that shine, Voodood' up this heart of mine." Then the main refrain begins with the familiar line " It seems like Happiness is Jes' a thing called Joe--------Does he love me good, that's all I need to know.""
It is a song greatly favoured by female singers who seem to be able to relate the song to their relationships with their own man of the moment.
The initial version is an actual clip from the film with Ethel Waters trying to sooth a critically ill Little Joe by demonstrating her unchanging love for the wandering heart of Little Joe. It is a poignant and powerful dramatic moment.
The second performance is by Peggy Lee who does sing the touching verse and then the main chorus with an equally heartfelt and blues tinged version. Note the reference in the verse to catching " a Rainbow" by the tail " - by the lyricist who also wrote " Somewhere Over The Rainbow."
LINK- WATERS: http://www.youtube.com/watch?v=jxA1ePIElgw
LINK-PEGGY LEE: http://www.youtube.com/watch?v=UuN7ycu5pwU
In 1943, a film with the same name was released again starring Waters, Horne and Rex Ingram in their original roles. Eddie( Rochester) Anderson played Little Joe. Director Vincente Minnelli wanted a song to show Petunia's love for the wayward Little Joe. Harold Arlen and E.Y Harburg collaborated on " Happiness is just a thing called Joe" with Ethel Waters demonstrating compassion, her wonderful singing voice and dramatic skill recreating her original role. Louis Armstrong and Duke Ellington also appeared in the film.
The song has a lengthy verse that that sings of " Skies ain't gonna cloud no more, the crops ain't gonna fail no more" because " A certain man with eyes that shine, Voodood' up this heart of mine." Then the main refrain begins with the familiar line " It seems like Happiness is Jes' a thing called Joe--------Does he love me good, that's all I need to know.""
It is a song greatly favoured by female singers who seem to be able to relate the song to their relationships with their own man of the moment.
The initial version is an actual clip from the film with Ethel Waters trying to sooth a critically ill Little Joe by demonstrating her unchanging love for the wandering heart of Little Joe. It is a poignant and powerful dramatic moment.
The second performance is by Peggy Lee who does sing the touching verse and then the main chorus with an equally heartfelt and blues tinged version. Note the reference in the verse to catching " a Rainbow" by the tail " - by the lyricist who also wrote " Somewhere Over The Rainbow."
LINK- WATERS: http://www.youtube.com/watch?v=jxA1ePIElgw
LINK-PEGGY LEE: http://www.youtube.com/watch?v=UuN7ycu5pwU
Wednesday 16 October 2013
" HIT THE ROAD TO DREAMLAND'
" Hit The Road to Dreamland: Although " That Old Black Magic" was the hit song in the film " Star Spangled Rhythm" , there was another fine song called "Hit The Road To Dreamland." It featured Mary Martin and Dick Powell in a good -night song while they were lingering in the dining car of a transcontinental train. As Edward Jablonski, Arlen's biographer described the scene ." Hit The Road" featured an infectious rhythmic counterpoint by the Golden Gate Quartet, a black gospel group that also performed secular material." Anxious to end their long working day, the Quartet joined Martin and Powell in some amusing patter, all destined to get Martin and Powell to finally turn in for the night.
Mercer came up with some musician's hip jargon like " Dig you in the land of nod" : knocked out moon........a-blowin' his top" in the blue" which perfectly matched the loosely swinging tune offered up by Arlen.
The scene was one of the more delightful highlights of " Star Spangled Rhythm" and is shown in it's entirety in the following film clip. Mary Marin's delightful exuberance and fine contralto singing voice are quite in evidence in contrast to the very light-voiced and square singing style of Dick Powell, a better actor than he ever was as a singer.
LINK: http://www.youtube.com/watch?v=MxP2ox5pTwc
Mercer came up with some musician's hip jargon like " Dig you in the land of nod" : knocked out moon........a-blowin' his top" in the blue" which perfectly matched the loosely swinging tune offered up by Arlen.
The scene was one of the more delightful highlights of " Star Spangled Rhythm" and is shown in it's entirety in the following film clip. Mary Marin's delightful exuberance and fine contralto singing voice are quite in evidence in contrast to the very light-voiced and square singing style of Dick Powell, a better actor than he ever was as a singer.
LINK: http://www.youtube.com/watch?v=MxP2ox5pTwc
Tuesday 15 October 2013
"THAT OLD BLACK MAGIC" STILL HAS US IN IT'S SPELL
" That Old Black Magic" -- Still has us in it's spell !" In 1942, Arlen and Mercer now turned their attention to a new film assignment, Star Spangled Rhythm. America was now fully engaged in a massive war effort and Hollywood complied by invoking patriotic themes in their lighter musical offerings. Arlen biographer,Edward Jablonski, pointed out these films were " Virtually plotless, were morale builders, many of which fell under the category of the cliché " star-studded." For a dance production number , Arlen played a potential melody for Mercer who suggested that with some additional bars of music, Mercer could fashion a narrative " story" instead of a conventional romantic film song. Jablonski adds thatMercer took the additional bars of music away with him." When he returned he had a song entitled
" That Old Black Magic." In the film, the song was performed by Johnny Johnson, a former band and radio singer who played a soldier who dreams about a ballerina, played by Vera Zorina. She was the wife of George Balanchine, the noted choreographer who created the film's ballet sequence.
Alec Wilder pointed out that Arlen used his octave drop device in three places and " Never resorted to the repeated note as much as he does in this song, which may dampen my ardour somewhat." (Note-Wilder had an abhorrence of too may repeated notes and was critical of George Gershwin's tendency to use repeated note motifs.)
Here are two contrasting versions of the song. Sarah Vaughan sings in a relatively restrained manner which is attractive in contrast to many over-heated versions, especially Billy Daniels excessive" showmanship" at the expense of the song itself.
Tony Bennett, in a rare pairing with the Dave Brubeck quartet, provides a swinging jazz version which still conveys the essence of the lyrics which Arlen felt needed " to tell a longer story in order to make it's point with sufficient drama and thereby a better song was written."
Sara Vaughan Link: http://www.youtube.com/watch?v=82r9VQuet_k
Tony Bennett Link: http://www.youtube.com/watch?v=YEQBXxfHa3g
" That Old Black Magic." In the film, the song was performed by Johnny Johnson, a former band and radio singer who played a soldier who dreams about a ballerina, played by Vera Zorina. She was the wife of George Balanchine, the noted choreographer who created the film's ballet sequence.
Alec Wilder pointed out that Arlen used his octave drop device in three places and " Never resorted to the repeated note as much as he does in this song, which may dampen my ardour somewhat." (Note-Wilder had an abhorrence of too may repeated notes and was critical of George Gershwin's tendency to use repeated note motifs.)
Here are two contrasting versions of the song. Sarah Vaughan sings in a relatively restrained manner which is attractive in contrast to many over-heated versions, especially Billy Daniels excessive" showmanship" at the expense of the song itself.
Tony Bennett, in a rare pairing with the Dave Brubeck quartet, provides a swinging jazz version which still conveys the essence of the lyrics which Arlen felt needed " to tell a longer story in order to make it's point with sufficient drama and thereby a better song was written."
Sara Vaughan Link: http://www.youtube.com/watch?v=82r9VQuet_k
Tony Bennett Link: http://www.youtube.com/watch?v=YEQBXxfHa3g
Monday 14 October 2013
"THIS TIME THE DREAMS" ---ON ARLEN & MERCER
" This Times The Dreams " ---On Arlen and Mercer: After introducing " Blues in the Night" in the 1961 film " Blues in The Night.", you would have thought that was a more than sufficient contribution to the film . The song quickly became number One on the Hit Parade. The song continues to appeal to musicians and listeners who still marvel at the what Alec Wilder describes as a song that is" Certainly a landmark in the evolution of American popular music, lyrically as well as musically." Not content with that triumph, Arlen and Mercer wrote a lovely ballad for a night club scene in which Priscilla Lane briefly sings " " This Time The Dreams on Me."
Dick Haymes provides a more recent version with his effortless way with a traditional ballad.
First Version-Priscilla Lane: http://www.youtube.com/watch?v=66YaOSCjNtY
Haymes Link: http://www.youtube.com/watch?v=FYJANaR1y3Y
NOTE: Will Friedwald ,in his " Biographical Guide to The Great Jazz and Pop Singers," believed that :Dick Hayme' talent seems beyond reproach--without a doubt he was one of the best ballad singers ever heard in American popular music-but his career choices beyond music most often seem questionable." With his smooth style, solid baritone voice and good looks, his work with the bands of Harry James, Benny Goodman and Tommy Dorsey gave him a solid musical grounding with America's finest arrangers, musicians and bandleaders. In fact, Haymes was the first of the big band singers to make solo recordings even before his rival Sinatra was able to break his contract with Tommy Dorsey. Despite all his personal difficulties with alcoholism, Internal Revenue, Customs and Immigration and broken marriages,,Friedwald concludes that" His is one of the richest legacies in all of pop singing." That is the Haymes legacy worth remembering.
Dick Haymes provides a more recent version with his effortless way with a traditional ballad.
First Version-Priscilla Lane: http://www.youtube.com/watch?v=66YaOSCjNtY
Haymes Link: http://www.youtube.com/watch?v=FYJANaR1y3Y
NOTE: Will Friedwald ,in his " Biographical Guide to The Great Jazz and Pop Singers," believed that :Dick Hayme' talent seems beyond reproach--without a doubt he was one of the best ballad singers ever heard in American popular music-but his career choices beyond music most often seem questionable." With his smooth style, solid baritone voice and good looks, his work with the bands of Harry James, Benny Goodman and Tommy Dorsey gave him a solid musical grounding with America's finest arrangers, musicians and bandleaders. In fact, Haymes was the first of the big band singers to make solo recordings even before his rival Sinatra was able to break his contract with Tommy Dorsey. Despite all his personal difficulties with alcoholism, Internal Revenue, Customs and Immigration and broken marriages,,Friedwald concludes that" His is one of the richest legacies in all of pop singing." That is the Haymes legacy worth remembering.
Sunday 13 October 2013
"BLUES IN THE NIGHT" AN ARLEN & JOHNNY MERCER CLASSIC
" Blues In The Night" An Arlen & Johnny Mercer Classic: It is impossible for me to restrain myself from going over the top in extolling the virtues of this song. So I won't.
Written for the 1942 Warner's film " Blues in the Night" , Arlen and Mercer created a near perfect marriage of music and words. Both men were deeply immersed in jazz and blues idioms and Mercer's southern background helped him fashion such highly original and genuine folk expressions. Arlen wanted to write a true blues number for the film and after studying W.C Handy's " A Treasury of the Blues", he began to play with various possible themes. Suddenly. as he later recalled, " I got this little notion and the fires went up and the whole thing poured out ! " He rushed to play the song for Mercer who jotted down several possible lyric ideas. Arlen felt that the first important twelve bars " didn't hang together." After looking through some four pages of Mercer's sketches, he was attracted to several lines Mercer had written but which were not included in the song. Arlen suggested that those lyrics start off the piece.
My mama done tol' me, when I was in kneepants,
My mama done tol' me son !
A woman'll sweet talk, and give ya the big eye,
But when the sweet talkin's done,
A woman's a two-face,
A worrisome thing who;ll leave ya 't sing
The blues in the night.
" Blues in the Night" has an unusual structure with a series of twelve and eight bar phrases between two sections where two measures are to be whistled ( using a musical theme introduced at the beginning of the song.) Alec Wilder was particularly fond of Mercer's " indigenous, salty, earthy, regional placename lines."
So impressed were the Warner executives that they scrapped the initial title " New Orleans Blues" and the movie became " Blues in the Night."
Sometimes, an original and truly artistic song can also become a popular " hit" song. That was the case with this Arlen/Mercer collaboration prompting a number of big ands like Benny Goodman, Woody Herman and Harry James ro record the song. In February of 1942, the song reached number One on the Hit Parade.
Frank Sinatra and Nelson Riddlle combined to create a memorable version of this song in their wonderful album recording " Only The Lonely." Sinatra adopts a rueful and restrained interpretation matched by Riddle's own arrangement which does not shout but quietly conveys the sorrowful nature inherent in the music and the lyrics. The whistling motif is included and may have been done by Sinatra himself.
There is also a version to be sung by a female in which Ella Fitzgerald laments the fact that it's a man who is the one who will " Leave you to sing, the blues in the night." Her version is more angry and intense and quite improvisational as befitting her historically strong jazz inclinations. Ultimately, it seems that either a man or a woman can leave you to sing "The Blues in the Night."
SINATRA LINK:
http://www.youtube.com/watch?v=H6Uakf7Fjek
FITZGERALD LINK: http://www.youtube.com/watch?v=niOkDUnyBnA
Written for the 1942 Warner's film " Blues in the Night" , Arlen and Mercer created a near perfect marriage of music and words. Both men were deeply immersed in jazz and blues idioms and Mercer's southern background helped him fashion such highly original and genuine folk expressions. Arlen wanted to write a true blues number for the film and after studying W.C Handy's " A Treasury of the Blues", he began to play with various possible themes. Suddenly. as he later recalled, " I got this little notion and the fires went up and the whole thing poured out ! " He rushed to play the song for Mercer who jotted down several possible lyric ideas. Arlen felt that the first important twelve bars " didn't hang together." After looking through some four pages of Mercer's sketches, he was attracted to several lines Mercer had written but which were not included in the song. Arlen suggested that those lyrics start off the piece.
My mama done tol' me, when I was in kneepants,
My mama done tol' me son !
A woman'll sweet talk, and give ya the big eye,
But when the sweet talkin's done,
A woman's a two-face,
A worrisome thing who;ll leave ya 't sing
The blues in the night.
" Blues in the Night" has an unusual structure with a series of twelve and eight bar phrases between two sections where two measures are to be whistled ( using a musical theme introduced at the beginning of the song.) Alec Wilder was particularly fond of Mercer's " indigenous, salty, earthy, regional placename lines."
So impressed were the Warner executives that they scrapped the initial title " New Orleans Blues" and the movie became " Blues in the Night."
Sometimes, an original and truly artistic song can also become a popular " hit" song. That was the case with this Arlen/Mercer collaboration prompting a number of big ands like Benny Goodman, Woody Herman and Harry James ro record the song. In February of 1942, the song reached number One on the Hit Parade.
Frank Sinatra and Nelson Riddlle combined to create a memorable version of this song in their wonderful album recording " Only The Lonely." Sinatra adopts a rueful and restrained interpretation matched by Riddle's own arrangement which does not shout but quietly conveys the sorrowful nature inherent in the music and the lyrics. The whistling motif is included and may have been done by Sinatra himself.
There is also a version to be sung by a female in which Ella Fitzgerald laments the fact that it's a man who is the one who will " Leave you to sing, the blues in the night." Her version is more angry and intense and quite improvisational as befitting her historically strong jazz inclinations. Ultimately, it seems that either a man or a woman can leave you to sing "The Blues in the Night."
SINATRA LINK:
http://www.youtube.com/watch?v=H6Uakf7Fjek
FITZGERALD LINK: http://www.youtube.com/watch?v=niOkDUnyBnA
Saturday 12 October 2013
A WONDERFUL ARLEN/KOEHLER SPIRITUAL
A Wonderful Arlen/Koehler Spiritual: The first collaboration of Harold Arlen and Ted Koehler was " Get Happy" an infectious and genuine tribute with what Arlen's biographer Edward Jablonski said were " Words rooted in Negro spirituals, which had become a part of American musical consciousness since the late nineteenth century with the debut ( and popularity) of the Fisk Jubilee Singers." The introductory verse started with the shout " Hallelujah" with the rest of the song introducing words such as " judgment day" "troubles" " the Lord and the River (.Jordan)"
A number of years after the 1930 success of " Get Happy" Arlen and Koehler collaborated on a decidedly non-commercial musical venture called Americanegro Suite. This unconventional concept from two white songwriters was intended to be a honest tribute to the power and often jubilant religiosity of a musical tradition that offered sustenance and hope for Afro Americans. Arlen and Koehler had spent considerable time in the Cotton Club and were well-versed and respectful of the black musical experience and its most admired performers.
Six songs were created . as Jablonski commented that " They were conceived, it is true, in the Negro narrative idiom, but they are almost without exception genuine musical creations , not experiments in imitation." After playing the songs for Jerome Kern, whose opinions Arlen cherished, Kern went out of the room and came back with a handsomely carved walking stick and presented it to Arlen as tangible appreciation of what Arlen had created. The cane had once belonged to Jacques Offenbach and was highly prized by Kern.
Further positive appreciation of the Suite came from Hall Johnson, the noted composer, arranger and choir director. Johnson was most familiar with the spiritual idiom having completed many choral arrangements of traditional spirituals. He stated, quite definitively, that " Of all the many songs written by white composers and employing what claimed to be a Negroid idiom in both words and music, these six songs easily stand far above the rest." Credible praise indeed !"
Please listen to " Where Is Dis Road A-Leadin' Me To ?" A sixty-six bar aria has a number of challenging shifts in tempo and a vocal range that requires a thoroughly trained vocal capability. It is performed by Eileen Farrell, a magnificent opera and concert soprano who also was an accomplished singer of popular songs and who had a close musical and personal relationship with Harold Arlen.
This is music making of the highest standard and remains true to the rich and soulful Afro American spiritual tradition..
It is performed as a concert song with a sensitive and supportive piano accompaniment.
LINK: http://www.youtube.com/watch?v=ZRdgqMRRFKQ
A number of years after the 1930 success of " Get Happy" Arlen and Koehler collaborated on a decidedly non-commercial musical venture called Americanegro Suite. This unconventional concept from two white songwriters was intended to be a honest tribute to the power and often jubilant religiosity of a musical tradition that offered sustenance and hope for Afro Americans. Arlen and Koehler had spent considerable time in the Cotton Club and were well-versed and respectful of the black musical experience and its most admired performers.
Six songs were created . as Jablonski commented that " They were conceived, it is true, in the Negro narrative idiom, but they are almost without exception genuine musical creations , not experiments in imitation." After playing the songs for Jerome Kern, whose opinions Arlen cherished, Kern went out of the room and came back with a handsomely carved walking stick and presented it to Arlen as tangible appreciation of what Arlen had created. The cane had once belonged to Jacques Offenbach and was highly prized by Kern.
Further positive appreciation of the Suite came from Hall Johnson, the noted composer, arranger and choir director. Johnson was most familiar with the spiritual idiom having completed many choral arrangements of traditional spirituals. He stated, quite definitively, that " Of all the many songs written by white composers and employing what claimed to be a Negroid idiom in both words and music, these six songs easily stand far above the rest." Credible praise indeed !"
Please listen to " Where Is Dis Road A-Leadin' Me To ?" A sixty-six bar aria has a number of challenging shifts in tempo and a vocal range that requires a thoroughly trained vocal capability. It is performed by Eileen Farrell, a magnificent opera and concert soprano who also was an accomplished singer of popular songs and who had a close musical and personal relationship with Harold Arlen.
This is music making of the highest standard and remains true to the rich and soulful Afro American spiritual tradition..
It is performed as a concert song with a sensitive and supportive piano accompaniment.
LINK: http://www.youtube.com/watch?v=ZRdgqMRRFKQ
Friday 11 October 2013
" WHEN THE SUN COMES OUT" ARLEN & KOEHLER STRIKE MUSICAL GOLD AGAIN
" When The Sun Comes Out"- Arlen & Koehler strike musical gold again. In 1941, in between movie assignments, Arlen magically came up with what biographer Edward Jablonski described as a bluesy ballad, " a vintage Arlen invention-it bristles with his musical sleight-of-hand, unexpected key changes and ingenious melodies." Alec Wilder, a noted Arlen supporter, said that " No one but Arlen could have written " When The Sun Comes Out." Wilder went on to praise the release which was such a logical an extension of the initial theme although most releases introduce a different thematic approach from the main theme. There is also an arresting introduction of a major motif with the lyric " Love is funny" and an optimistic note near the end with the possibility of a knock on the door " Then you'll know that my love walked in, After the sun comes out."
Wilder concluded that the song " Has a warmth and tenderness seldom to be found in a song."
Arlen's ability to artfully shift from minor to major motifs was also evidenced in the beginning of the release of " Like A Straw In The Wind."
There are a number of versions of the song with the first by Barbra Streisand whose live performance is a full blown , emotionally charged diva showcase and quite different from her much earlier recording as a teenager.
As contrast, Mel Torme provides a restrained and beautifully articulated version that also honours the melody and the lyrics but with the precision and artistry of a highly skilled musician not just a superior singer. I believe that the moody, chamber jazz arrangement is by Marty Paich who did many of Torme's recordings in the 1950's.
STREISAND LINK: http://www.youtube.com/watch?v=aqW7aglo7Es
TORME LINK: http://www.youtube.com/watch?v=zF1FEQ7d98Y
Wilder concluded that the song " Has a warmth and tenderness seldom to be found in a song."
Arlen's ability to artfully shift from minor to major motifs was also evidenced in the beginning of the release of " Like A Straw In The Wind."
There are a number of versions of the song with the first by Barbra Streisand whose live performance is a full blown , emotionally charged diva showcase and quite different from her much earlier recording as a teenager.
As contrast, Mel Torme provides a restrained and beautifully articulated version that also honours the melody and the lyrics but with the precision and artistry of a highly skilled musician not just a superior singer. I believe that the moody, chamber jazz arrangement is by Marty Paich who did many of Torme's recordings in the 1950's.
STREISAND LINK: http://www.youtube.com/watch?v=aqW7aglo7Es
TORME LINK: http://www.youtube.com/watch?v=zF1FEQ7d98Y
Thursday 10 October 2013
GROUCHO MARX SINGS ARLEN/,HARBURG'S "LYDIA, THE TATTOOED LADY"
Grouch0 Marx sings Arlen/Harburg song " Lydia the Tattooed Lady" For the 1939 Marx brothers romp "At the Circus", Arlen and Harburg fashioned a song spoof for Groucho Marx. Marx was a friend of E.Y.Harburg and got the idea for the number after an evening at Groucho's house devoted to , of all people, Gilbert and Sullivan. Harburg said that Groucho " Would gather us there, play complete operas and sing along with them." Seeing the comic's verbal dexterity, Harburg felt he could show off his own cleverness with " the rhyming schemes and verbal juggling." The results was one of Arlen's favourite Harburg lyrics, the clever and sly " Lydia the Tattooed Lady." In the movie, Marx is accompanied by brothers Harpo and Chico and a few hangers on.
It is a delightful and zany number with clever rhyming of historical and geographical references throughout.
When asked which singer he felt was the most favourite singer of his own songs, Arlen ever the diplomat, would simply reply " Groucho Marx."
Please savour this Marxian descent into verbal and musical anarchy so characteristic of the Marx brothers' inventive comedy style and Harburg's own lyric wit in full flight.
LINK : http://www.youtube.com/watch?v=n4zRe_wvJw8
It is a delightful and zany number with clever rhyming of historical and geographical references throughout.
When asked which singer he felt was the most favourite singer of his own songs, Arlen ever the diplomat, would simply reply " Groucho Marx."
Please savour this Marxian descent into verbal and musical anarchy so characteristic of the Marx brothers' inventive comedy style and Harburg's own lyric wit in full flight.
LINK : http://www.youtube.com/watch?v=n4zRe_wvJw8
Tuesday 8 October 2013
" LIKE A STRAW IN THE WIND" A GREAT UNKNOWN TORCH SONG
" Like A Straw In The Wind" -A Great Unknown Torch Song. In 1941, Arlen and Koehler wrote several independent songs, one of which is " Like A Straw in the Wind." I must caution myself against making too extravagant praises for a little known song by Arlen and Koehler. From the first 8 bars, I was once again transfixed by the bone-weary, sorrowful lament that Arlen also found in" Ill Wind" The Man That Got Away " Blues in the Night"" Moanin' In The Mornin' and " Stormy Weather". Although it would quite easy for such songs to become bathetic or even trite and predictable, Arlen and his lyric partners always manage to invest such songs with genuine emotion and personal conviction. Early in his career, Arlen was fortunate to find, in Ted Koehler, someone who understood the nature of the legitimate torch song. Working in the Cotton Club enhanced both an appreciation and understanding of the difficulties of the Afro American existence at that time.
The sheet music indicates the refrain should be played ( Very Slow, with great feeling."
Although Arlen's melody is not in the true 12 bar blues style, there is an inevitable tonal coloration that can only be thought of as reflecting the essence ,if not the form ,of the blues tradition and his own father's vocal improvisations.
Harburg's lyrics are not overwrought but simple statements of regret such as" And when your man is gone your world just falls apart" or " Nothin' you try to do helps you to comfort your heart" and finally when " Trouble steps in and makes you feel LIKE A STRAW IN THE WIND."
This song deserves a much wider exposure. I fervently hope that there will be new performances by singers and musicians who can do justice to this little known musical gem.
I regret that there are not any great versions on YOUTUBE.
Barbra Streisand starts out respecting the song as written However,,partway through, she descends into a frenzied improvisational invocation of other Arlen song lyrics that is disconcerting. It is a shame because she liked and admired Arlen and even recorded " Ding Dong The Witch is Dead" early in her recorded career and has done justice to other Arlen songs later in her career, some of which will be heard on future posts.
I reluctantly include her version but only for the initial segment and need for you to hear the melody and words.
I had a chance to play the full piano part and it is wonderful and something a jazz pianist could really cherish.
There is a marvellous harmonic occurrence just at the beginning of the release when the minor tune jumps into an major e natural note that is arresting. It typifies Arlen's ability to introduce the unexpected that can radically alter one's perception of the tune and, once heard, can never be forgotten. It occurs on the note expressing " gone" ending the phrase " My Man is "Gone".
STREISAND LINK: http://www.youtube.com/watch?v=0E2SyPTnikk
The sheet music indicates the refrain should be played ( Very Slow, with great feeling."
Although Arlen's melody is not in the true 12 bar blues style, there is an inevitable tonal coloration that can only be thought of as reflecting the essence ,if not the form ,of the blues tradition and his own father's vocal improvisations.
Harburg's lyrics are not overwrought but simple statements of regret such as" And when your man is gone your world just falls apart" or " Nothin' you try to do helps you to comfort your heart" and finally when " Trouble steps in and makes you feel LIKE A STRAW IN THE WIND."
This song deserves a much wider exposure. I fervently hope that there will be new performances by singers and musicians who can do justice to this little known musical gem.
I regret that there are not any great versions on YOUTUBE.
Barbra Streisand starts out respecting the song as written However,,partway through, she descends into a frenzied improvisational invocation of other Arlen song lyrics that is disconcerting. It is a shame because she liked and admired Arlen and even recorded " Ding Dong The Witch is Dead" early in her recorded career and has done justice to other Arlen songs later in her career, some of which will be heard on future posts.
I reluctantly include her version but only for the initial segment and need for you to hear the melody and words.
I had a chance to play the full piano part and it is wonderful and something a jazz pianist could really cherish.
There is a marvellous harmonic occurrence just at the beginning of the release when the minor tune jumps into an major e natural note that is arresting. It typifies Arlen's ability to introduce the unexpected that can radically alter one's perception of the tune and, once heard, can never be forgotten. It occurs on the note expressing " gone" ending the phrase " My Man is "Gone".
STREISAND LINK: http://www.youtube.com/watch?v=0E2SyPTnikk
"OVER THE RAINBOW" -GREATEST 20TH CENTURY SONG
" Over The Rainbow"- Greatest 20th Century Song: This Harold Arlen, E.Y.Harburg masterpiece was voted the best song of the 20th century and also the best film song written over the same time period. Of course, much of its popularity stems from the iconic film " The Wizard of Oz" which holds such treasured memories for millions of people of all ages. The heart rending performance by young Judy Garland is also clearly fixed in our collective memories. The song will always be linked with her performance although there have been many other performances over the years with new ones emerging every year.
I have been developing a major online survey project to determine what musical related elements make people enthusiastically say " I Really Love That Song ! "
With an online focus group, the song was provided along with a survey form. Participants were asked to rate the relative importance of a number of musical elements as reasons for their love of this song. Generally, there were several factors that people cited for their enthusiasm. Follow up telephone sessions also provided additional insights into listeners' song related methods for judging songs that they admire.
A full analysis and report on the survey will be publicly available in the near future.
Now to the singing. I was aware that there are strong individual memories that the film holds for the listener and using the song from the film itself could overshadow the music related aspects I am trying to identify. Participants did admit that they had very vivid feelings about the song and . that they would try to minimize They were asked focus on what was originally created and represented in the sheet music-the music and the lyrics that Arlen and Harburg delivered.
I selected a version by the celebrated Broadway performer Audra McDonald because she clearly has a strong personal identification with the song and has a voice that can deal with the vocal challenges of the song. She is accompanied by only a solo guitar to highlight the essence of the song. I also have included a version by Ella Fitzgerald whose ever youthful voice and natural singing style is equally impressive in conveying the longing in the heart of a young girl in dust- swept, Depression era Kansas.
McDonald Link:
http://www.youtube.com/watch?v=y9_vZJK7LIc
Fitzgeral Link. http://www.youtube.com/watch?v=I-7VprPX8kg
I have been developing a major online survey project to determine what musical related elements make people enthusiastically say " I Really Love That Song ! "
With an online focus group, the song was provided along with a survey form. Participants were asked to rate the relative importance of a number of musical elements as reasons for their love of this song. Generally, there were several factors that people cited for their enthusiasm. Follow up telephone sessions also provided additional insights into listeners' song related methods for judging songs that they admire.
A full analysis and report on the survey will be publicly available in the near future.
Now to the singing. I was aware that there are strong individual memories that the film holds for the listener and using the song from the film itself could overshadow the music related aspects I am trying to identify. Participants did admit that they had very vivid feelings about the song and . that they would try to minimize They were asked focus on what was originally created and represented in the sheet music-the music and the lyrics that Arlen and Harburg delivered.
I selected a version by the celebrated Broadway performer Audra McDonald because she clearly has a strong personal identification with the song and has a voice that can deal with the vocal challenges of the song. She is accompanied by only a solo guitar to highlight the essence of the song. I also have included a version by Ella Fitzgerald whose ever youthful voice and natural singing style is equally impressive in conveying the longing in the heart of a young girl in dust- swept, Depression era Kansas.
McDonald Link:
http://www.youtube.com/watch?v=y9_vZJK7LIc
Fitzgeral Link. http://www.youtube.com/watch?v=I-7VprPX8kg
Monday 7 October 2013
BUDS WON'T BUD- A HUMOROUS LOOK AT ONE-WAY ROMANCES
Buds Won't Bud- A Humorous Look at One-Way Romances: The last song from Hooray For What ! is one of Arlen and Harburg's wittiest take on the ins and outs of romance. With a number of expertly rhymed jests, the singer lamentst on what doesn't work in the world " When the one you love won't ;love you." Among other things, " Breeze won't breeze, Eenie meenies minus moe when the love you love says heigh ho. There are a whole lot of similar non- functioning consequences as a result of the failed one-way romance . Nonetheless, the singer is able to amusingly cite, what's wrong when "Dew won't dew, one and one ain't even two, when the love you love, won't love you.
The first version is sung by Judy Garland whose career was closely linked with famous songs that Arlen, Harburg and Ira Gershwin all wrote for Garland.
In addition, Arlen himself recorded the song. Listen to his jazz and blues inflected interpretation of the song. It reinforces the influence of black music traditions and styles and the minor tinged feel of his father's cantorial influence.
Despite the singer's lack of romantic success, the tune and lyrics are so sly and peppy that one keeps bouncing along with the song so insidious are the talents of Arlen and Harburg.
Garland Link: http://www.youtube.com/watch?v=Al8CfgFrcAw
Arlen link: http://www.youtube.com/watch?v=T0M4Msoz5_k
The first version is sung by Judy Garland whose career was closely linked with famous songs that Arlen, Harburg and Ira Gershwin all wrote for Garland.
In addition, Arlen himself recorded the song. Listen to his jazz and blues inflected interpretation of the song. It reinforces the influence of black music traditions and styles and the minor tinged feel of his father's cantorial influence.
Despite the singer's lack of romantic success, the tune and lyrics are so sly and peppy that one keeps bouncing along with the song so insidious are the talents of Arlen and Harburg.
Garland Link: http://www.youtube.com/watch?v=Al8CfgFrcAw
Arlen link: http://www.youtube.com/watch?v=T0M4Msoz5_k
Saturday 5 October 2013
UNDER THE " NEW" NOT THE OLD APPLE TREE
Under the " New" not the Old Apple Tree: Another song from "Hooray for What" was " In The Shade of the New Apple Tree." It was a gentle and witty parody of a popular 1905 parlour song that extolled the virtues of an old apple tree. Arlen's biographer, Edward Jablonski, described the song as having " A gentle melody, swinging rhythm, amiable harmonies and a whimsical A-A-B-A structure."
Harburg's lyrics mentioned that " Though the world is new and fancy free, the old moon's above you and the words are still I love you, In the shade of the new Apple Tree." The song concludes with " Hey Nonny -oh, fortunately There'll always be You and Me , In the Shade of the New Apple Tree."
Although not well known, the song became very important to Arlen and Harburg's film careers. Arthur Freed who eventually became head of MGM'S famous musical film unit was looking for his first film project for Louis B. Mayer. A former song writer who , with Nacio Herb Brown,wrote the songs featured in " Singing In The Rain" felt that, in Jablonski's words" There was something in the song's character, something in the frolicksome, whimsical tune and the lighthearted witty lyrics, that convinced Freed he had found the perfect team to score his film---if it ever got made." Several years later, Freed selected Arlen and Harburg to write songs for " Wizard of Oz." Their brilliant collaboration was proof indeed that there was something new musically under that New Apple Tree.
The version you will hear is a dance band version with an unknown female vocalist.
LINK:
http://www.youtube.com/watch?v=q5UorMxTqLc
Harburg's lyrics mentioned that " Though the world is new and fancy free, the old moon's above you and the words are still I love you, In the shade of the new Apple Tree." The song concludes with " Hey Nonny -oh, fortunately There'll always be You and Me , In the Shade of the New Apple Tree."
Although not well known, the song became very important to Arlen and Harburg's film careers. Arthur Freed who eventually became head of MGM'S famous musical film unit was looking for his first film project for Louis B. Mayer. A former song writer who , with Nacio Herb Brown,wrote the songs featured in " Singing In The Rain" felt that, in Jablonski's words" There was something in the song's character, something in the frolicksome, whimsical tune and the lighthearted witty lyrics, that convinced Freed he had found the perfect team to score his film---if it ever got made." Several years later, Freed selected Arlen and Harburg to write songs for " Wizard of Oz." Their brilliant collaboration was proof indeed that there was something new musically under that New Apple Tree.
The version you will hear is a dance band version with an unknown female vocalist.
LINK:
http://www.youtube.com/watch?v=q5UorMxTqLc
Friday 4 October 2013
" DOWN WITH LOVE" -AN ANTI-ROMANCE SONG
"Down with Love"- An Anti-Romance Song Arlen and his many collaborators wrote a great number of positive love and romance songs. Arlen, himself, had a great love for his wife Anya Taranda. Ted Koehler, E.Y Harburg, Johnny Mercer, Leo Robin and Ira Gershwin all collaborated with Arlen on the power and necessity of love.
However, in 1937, Arlen and E.Y. Harburg decided to provide a reality check on too optimistic a view of the romantic ideal. After all, not all relationships and marriages do end on a happy note.
In the musical " Hooray for What", staged by Vincente Minelli, Arlen and Harburg took an angry swipe at " Moon and June and Roses and Rainbow's End. ( Note ironically that two years later they also wrote " Over The Rainbow").
Harburg even suggested that we should " Give it back to the birds and the bees and the Viennese " . This well-orchestrated diatribe against too rosy a view of relationships is clearly provided in Audra McDonald"s forceful performance. Listen especially to the last two minutes of her astonishing version of the song. Hell hath no fury like a woman scorned and Audra performs that sentiment as a most accomplished singing actress.
In the same show, " the boys" wrote more positive songs which we will feature in the next post. Stay tuned!
LINK http://www.youtube.com/watch?v=nYE-gSTwB20
However, in 1937, Arlen and E.Y. Harburg decided to provide a reality check on too optimistic a view of the romantic ideal. After all, not all relationships and marriages do end on a happy note.
In the musical " Hooray for What", staged by Vincente Minelli, Arlen and Harburg took an angry swipe at " Moon and June and Roses and Rainbow's End. ( Note ironically that two years later they also wrote " Over The Rainbow").
Harburg even suggested that we should " Give it back to the birds and the bees and the Viennese " . This well-orchestrated diatribe against too rosy a view of relationships is clearly provided in Audra McDonald"s forceful performance. Listen especially to the last two minutes of her astonishing version of the song. Hell hath no fury like a woman scorned and Audra performs that sentiment as a most accomplished singing actress.
In the same show, " the boys" wrote more positive songs which we will feature in the next post. Stay tuned!
LINK http://www.youtube.com/watch?v=nYE-gSTwB20
Wednesday 2 October 2013
JOLSON AND MERMAN SING ARLEN FILM SONGS
Jolson and Merman sing Arlen film songs: In the mid-1930's, the Broadway musical business was experiencing difficulty while the Depression area economy was still in the tank. Most of the talented composers and lyricists then ventured to Hollywood with movie studios needing musical talent for the growth in the film business. Arlen and Harburg's first Holywood assignment was an Al Jolson film, to be called The Singing Kid. At the same time Arlen worked with lyricist Lew Brown on an Ethel Merman, Eddy Cantor movie called Strike me Pink. Ethel Merman was given a torch song by Arlen and Lew Brown entitled " First You Have Me High/Then you have me low." It uses a number of short phrases to underscore how distraught the singer has become. Arlen's most distinctive stylistic device, the octave leap, is again used and is quite effective. Personally, I would have preferred a more sensitive and soulful rendition like that of an Ethel Waters or Lee Wiley. Merman has such a powerful persons, its hard to imagine her in such a despondent state of affairs.
With the Jolson film, Arlen and Harburg had Al Jolson sing to six-year old Sybil Jason. He serenaded her with Your the Cure for What Ails Me. It is an attractive , upbeat number which Arlen himself described as a lyric number in which the words are more significant than the melody.
Both Merman and Jolson were overpowering in their delivery and more effective on the stage than in movies, except for Jolsons ground breaking role in The Jazz Singer.
Merman Link:
http://www.youtube.com/watch?v=p9iFKmjhM3Q
Jolson Link: http://www.youtube.com/watch?v=75I5IoRiduE
With the Jolson film, Arlen and Harburg had Al Jolson sing to six-year old Sybil Jason. He serenaded her with Your the Cure for What Ails Me. It is an attractive , upbeat number which Arlen himself described as a lyric number in which the words are more significant than the melody.
Both Merman and Jolson were overpowering in their delivery and more effective on the stage than in movies, except for Jolsons ground breaking role in The Jazz Singer.
Merman Link:
http://www.youtube.com/watch?v=p9iFKmjhM3Q
Jolson Link: http://www.youtube.com/watch?v=75I5IoRiduE
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