The Lost Transcriptions – Volume 4
David Rose and his Orchestra
1 The Tina Lina (Nicholas Brodszky; Johnny Green, arr. David Rose)
World Program Service 466J c.1951
2 On A Misty Day (David Rose)
World Program Service 800-7811 c.1945
3 A Strip of Sunset (David Rose)
World Program Service 800-6200 c.1945
4 Oh! You Horses (David Rose)
Standard Radio Transcription Services Z 154-3 c.1942
5 Birth Of The Blues (from "George White’s Scandals") (Ray Henderson; Lew Brown; Buddy De Sylva, arr. David Rose)
Standard Radio Transcription Services Z-162-3 c.1942
Mantovani and his Orchestra
6 Brass Hats (Guy Desslyn, real name Frederic Bayco)
Lang-Worth Feature Programs PC 137A 1952
7 Caprice Viennois (Fritz Kreisler)
Lang-Worth Feature Programs PC 122B 1952
8 Cuban Holiday (Donald Phillips)
Lang-Worth Feature Programs PC 124B 1952
9 Danse Drole (Michael Spivakovsky)
Lang-Worth Feature Programs PC 137A 1952
10 Loop-De-Loo (Vic Mizzy)
Lang-Worth Feature Programs PC 124A 1952
11 Nocturnal Mood (Emil Cadkin)
CARL CHANDLER AND HIS ORCHESTRA (real name Emil Cadkin)
Standard Z-253-2 1949
12 It Wouldn’t Be Love (Allan Roberts; Buddy Bernier)
HOLLYWOOD SALON ORCHESTRA Conducted by HARRY BLUESTONE
Standard T-240-4 1949
13 The Minute Waltz (Chopin arr. Emil Cadkin)
CARL CHANDLER AND HIS ORCHESTRA (real name Emil Cadkin)
Standard Z-268-6 1949
14 Hindustan (Harold Weeks)
CARMEN DRAGON AND HIS ORCHESTRA
World Programme Service (Australia) 108 c.1945
Sidney Torch and his Orchestra
15 Long Ago And Far Away (from "Cover Girl") (Jerome Kern, arr. Sidney Torch)
Lang-Worth PC 86A c.1952
16 On The Trail (from "Grand Canyon Suite") (Ferdé Grofé)
Lang-Worth PC 132A c.1952
17 La Calinda (Frederick Delius)
Lang-Worth PC 134A c.1952
18 Syncopated Clock (Leroy Anderson)
Lang-Worth PC 88A c.1952
Percy Faith and his Orchestra
I Can’t Get Started With You (From "Ziegfeld Follies of 1936")(Vernon Duke;
Ira Gershwin, arr. Percy Faith)
VOA PO 103 1948
20 Oodles Of Noodles (Jimmy Dorsey) Solo Saxophone VINCENT J. ABATO
VOA PO 96 1948
21 The Snow Goose (Percy Faith) Solo Piano STAN FREEMAN
AFRS "Melody Hour" Programme 1946
22 Tears On Satin (Johnny Richards) Solo Harmonica RICHARD HAYMAN
VOA PO 117 1948
23 Two Silhouettes (From the film "Make Mine Music") (Charles Woolcott,
arr. Percy Faith)
AFRS "Melody Hour" Programme 1946
The Irish Washerwoman (Trad. arr. Percy Faith)
VOA PO 105 1948
All titles mono
Sound recordings provide a fascinating subject to study for anyone interested in the development of music in recent times. By the beginning of the 20th century it was possible to enjoy the early acoustic recordings, without continually being aware of the limitations of the system. In the mid-1920s electrical recording proved to be a giant leap forward in terms of reproduction, and subsequent advances in technology have made it possible for listeners to enjoy superb sound whenever and wherever they wish. It is, perhaps, a pity that the small portable devices so common today have actually resulted in a deterioration in sound quality, but it is up to the user to decide what is acceptable.
For many people sound recordings probably just mean commercial recordings, offered for sale by record companies who have strived to anticipate what their potential customers will be willing to buy. The first three quarters of the last century witnessed the growth of major recording organisations around the world, sometimes linked to music publishers and other associated interests. In the early days the creators of the music seemed to have been largely in control; in later years the accountants took over, with the result that true music lovers often felt that their desires meant little to those in charge. Fortunately a number of small independent companies tended to surface as the 20th century drew to a close, often sustained by the enthusiasm of dedicated collectors anxious to preserve what they regarded as the glory years of recorded music.
Alongside the familiar commercial gramophone records, a large number of recordings were also being made to serve the needs of various sections of the entertainment business. The general public was blissfully unaware of the existence of this vast reservoir of music, although they were frequently exposed to it. Today it is often labelled ‘production music’ or ‘stock music’; in earlier times it was ‘mood’, or ‘background’ music, and it often came from the music publishers themselves who wanted their music to be used in the cinema, radio, television, newsreels, documentaries – in fact anywhere that music could play a useful part. Some larger radio stations also made special programmes to offer to other broadcasters around the world, who maybe couldn’t afford the cost of some of these lavish productions. These were usually referred to as ‘Transcriptions’.
Sadly many of these were not highly regarded at the time. Although standards generally were high, they were frequently unkindly dismissed as ‘passing fancies’ that would serve a useful purpose, and then be forgotten. Often they were supposed to be destroyed after use, but fortunately for us some collectors who could appreciate their musicality decided that such a fate was surely too cruel. (Without wishing to complicate the story too much, it should be mentioned at this point that the Second World War also required a large amount of transcription recordings to entertain troops far away from home, and specialist organisations grew up to supply them).
Today many historic sound recordings are under threat due to copyright regulations which can only be described as deplorable. Unless the original legal owners are willing to fund the necessary work involved, dedicated restorers are hampered by regulations which prohibit them from working to save deteriorating precious recordings that are part of our musical heritage. Reports from concerned sources within the USA suggest that some early sound recordings are ‘locked away’ for up to 177 years. One cannot believe that this was intended by legislators, and it can only be assumed that law makers have been poorly advised by the people who should be ensuring that they make correct and sensible decisions. In Europe the period for ‘locking away’ sound recordings ignored by the copyright holders has been increased from 50 to 70 years, despite every learned study into the question ruling against such a retrograde step. This is all happening when the internet has made it virtually impossible to police all forms of copyright. Every day hundreds of thousands of pieces of music, and literary works, are made available to the world without any thought as to what the creators deserve to receive from the fruits of their labours.
This collection of transcription recordings, which has been produced carefully to observe all applicable copyright laws, is an example of the essential work that should be done all over the world to preserve the music that has played such an important part in the lives of us all.
Four leading Light Orchestras provide the lion’s share of the music in this collection. In each case they have enjoyed international success with their numerous commercial recordings, and it may come as a surprise to some of their admirers to learn that they were actively involved in making transcription recordings. Their contributions to this CD were not issued commercially when originally recorded.
David Rose was born on 15 June 1910 in London, England, and the family moved to the USA when he was just four-years-old. After leaving the Chicago College of Music at the age of 16, he eventually became a pianist/ arranger/ conductor for NBC Radio. He moved to Hollywood, and in 1938 formed his own orchestra for the Mutual Broadcasting System, and featured on the programme "California Melodies". In 1943 he had a big hit with his own composition Holiday For Strings which firmly launched him as a light music composer in the eyes of the public. By the late '40s he was a regular on Red Skelton's radio show, moving with him into television. He later wrote scores and themes for over 20 television series and won Emmy awards for his 14 year stint on "Bonanza", 10 years with "Little House On The Prairie" and his work on three much-acclaimed Fred Astaire specials. Rose began working in movies in 1941 and is credited with scoring 36 films. After chart success with Calypso Melody in 1957, Rose had a worldwide smash hit in 1962 with another of his own tunes, a humorous and satirical piece called The Stripper. In total he won five Grammy awards and six gold records. Apart from his record, film and television work, Rose was guest conductor with several symphony orchestras. His Concerto For Flute And Orchestra was first played by the Los Angeles Philharmonic Orchestra and later by the Boston Pops. Towards the end of his life his enduring passion was miniature steam trains, which ran on 900 feet of track around his house. Rose died on 23 August 1990, at his home in Burbank, California, aged 80.
Annunzio Paolo Mantovani was born in Venice, Italy on 15 November 1905. His father was principal violinist at La Scala, Milan, with the legendary Arturo Toscanini. Although details are difficult to confirm, Mantovani always maintained that he came to England when aged only four, and it is believed that he may have accompanied his father who was playing with a touring Italian opera company which performed at the Royal Opera House, Covent Garden in 1909. The family seems to have settled permanently in England in 1912. During his formal studies at Trinity College he excelled on the violin, but the young Mantovani showed leanings towards the popular music of the day, and he embarked upon a career that was typical for many aspiring musicians in the early years of the last century. His studies had equipped him well as both a violinist and pianist, and it was not long before he became proficient at composing and arranging. Living in the capital city there were plenty of opportunities for work in restaurants, hotels and theatres, and while still in his teens he realised that conducting was another skill that came easily to him. In 1923 he took a quintet into the Midland Hotel in Birmingham; by 1925 he was at London’s Metropole Hotel where one of his players was another talented youngster who would one day become one of the most famous light music conductors alongside Mantovani – none other than George Melachrino. By 1932 his name was starting to be recognised by music lovers: it was in this year that he began his series of popular recordings conducting his Tipica Orchestra. Gradually his recorded repertoire expanded to include pieces of concert-style light music, and this laid the foundations for the large orchestra, with the emphasis on strings, that was to bring him universal acclaim from the early 1950s onwards. This has ensured his well-deserved place in the history of popular music.
Sidney Torch (1908-1990) was born Sidney Torchinsky, of Ukranian parents at 27 Tottenham Court Road, in London’s West End. For decades he was well-known in Britain for his numerous Parlophone recordings, as well as his long tenure as conductor of the BBC Concert Orchestra in the "Friday Night Is Music Night" BBC radio programme. Prior to the Second World War he was one of Britain’s finest theatre organists. After war service in the Royal Air Force, where he conducted the RAF Concert Orchestra, he made a complete break from playing the organ and concentrated entirely on composing, arranging and conducting light music. Towards the end of his life he was awarded the MBE, but sadly did not seem to enjoy a happy retirement. He had no children, and his wife pre-deceased him. In his will the beneficiary of all his royalties was the Cancer Relief MacMillan Fund. He has left behind a wealth of recordings: some feature him purely as a very accomplished conductor who could handle anything required by broadcasters from the light classics to popular melodies of the day. But his admirers are also grateful for the magnificently crafted light music cameos that continue to delight listeners more than fifty years after he composed them. Alongside this treasure-house of individual works are the many pieces by others that he orchestrated so beautifully. He was truly a very gifted musician, and one hopes that music lovers fifty or one hundred years from now will still have the opportunity to explore his legacy.
Percy Faith was born in Toronto, Canada, on 7 April 1908, and originally he expected that his musical career would be as a concert pianist. But he injured his hands in a fire, which forced him to turn to composing, arranging and conducting. During the 1930s his programme "Music By Faith" was carried by the Mutual Network in the USA, which prompted offers of work south of the border. He eventually succumbed in 1940, leaving Robert Farnon (previously his lead trumpeter) to conduct his Canadian orchestra. Initially Faith concentrated on broadcasting, and his occasional recording sessions during the 1940s were for several different companies. Things were to change when he signed a Columbia (CBS) contract in 1950, and he soon discovered that his singles sold well and the new long playing records needed the kind of popular instrumental sounds that had formed the basis of his broadcasts for so many years. Unlike most of his contemporaries, Faith arranged all his own material, and his exciting and vibrant scores made his work stand out among the rest. He accompanied many of Columbia’s contract singers, and even contributed the odd popular song, such as My Heart Cries For You for Guy Mitchell. But today it is his numerous albums that have created a resurgence of interest in his work, thanks to their reissue on CD. Faith was always busy, whether working in the recording studios, radio, television or films. He died at Encino, California, on 9 February 1976, aged 67.
The three remaining conductors were also very active in the specialised area of the music business involved in the making of transcription recordings.
Emil M. Cadkin, who used the pseudonym ‘Carl Chandler’, is an American composer and conductor of Russian descent, who was born in Cleveland, Ohio, in 1920. At the end of the 1930s he was in Los Angeles writing and teaching music, and he enlisted in the USAF in 1942. Back in civilian life he seems to have spent many years providing ‘stock’ or ‘production’ music for various third rate film studios, but eventually he gained a position as musical director and arranger for Columbia Pictures and Screen Gems. He was certainly prolific: his name crops up in many films, television shows and as a composer of stock music, sometimes in collaboration with others such as Harry Bluestone (see below) and William Loose (1910-1991).
Harry Bluestone (1907-1992) was born in England, but he made his successful career in the USA where he composed and conducted music for films and television, often alongside some of the busiest ‘backroom boys’ in the business.
Carmen Dragon (1914-1984) was born in Antioch, California. His first success in Hollywood was collaborating with Morris Stoloff (1898-1980) arranging Jerome Kern’s score for the 1944 Rita Hayworth/Gene Kelly film "Cover Girl" which secured him an Oscar. He worked extensively in radio and television, and was a frequent visitor to recording studios conducting the Hollywood Bowl and Capitol Symphony Orchestras. He also arranged and conducted for the Standard School Broadcast Transcription Service, and his version of San Francisco (which cleverly includes brief snatches related to the Californian city’s cosmopolitan population) was included on GLCD5180.
Make sure you enter all the required information, indicated by an asterisk (*). HTML code is not allowed.