04 Aug

Polka Dot

By  Robert Walton
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POLKA DOT
(Eric Cook)
Analysed by Robert Walton

Whenever serious light music is discussed, the conversation inevitably turns to the finest orchestra in the genre, the Queen’s Hall Light Orchestra. And it’s not just the standard of playing - that goes without saying. It’s also those unique compositions written by the top writers of the 1940s and 50s - Sidney Torch, Charles Williams, Clive Richardson, Wally Stott and of course Robert Farnon. In comparison with the premier production company Chappells, which made these marvels, much of the music of the minor mood labels was corny, predictable and frankly amateurish. Occasionally though, one comes across a piece which could have come straight out of that elite stable. Eric Cook’s Polka Dot is one such title that has all the elements of a QHLO standard about it, and well describes one of a number of round dots, repeated to form a regular pattern on fabric. Come to think of it, professional musicians often refer to musical notes as ‘dots’.

The slick string introduction might sound like a main melody but after 8 bars it soon becomes obvious the official tune, beautifully supported by a subliminal counter-melody, begins at bar 9 after some muted brass sets the scene. Then a very playful Farnon-like flute requiring absolute virtuosity gives the introduction a woodwindy boost followed by a lovely fill section. Then the strings imitate the flute. And just before the tune reappears we’re treated to another few bars of delicious close harmonies. It all sounds so totally 1940’s treasure trovish and the constant bustling motion almost takes your breath away.

Immediately after that busy opening, the orchestra goes into rest mode for a typically rich vocal-like sweeping middle section with strings, first in gorgeous close harmony then the bare tune. Even in 1957 the David Rose influence was present. And before we know it, we’re back to the beginning for a repeat. The tune of Polka Dot is gradually brought to a logical conclusion but near the end it’s suddenly interrupted by some more thrilling bravura playing from the flute before coming to a final stop.

Polka Dot is one of the most satisfying little light orchestral workouts I know, and British composer Eric Cook deserves high praise.

Polka Dot (Cook)
New Concert Orchestra/Cedric Dumont
“A Box of Light Musical Allsorts”
Guild Light Music (GLCD 5157)

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About Geoff 123
Geoff Leonard was born in Bristol. He spent much of his working career in banking but became an independent record producer in the early nineties, specialising in the works of John Barry and British TV theme compilations.
He also wrote liner notes for many soundtrack albums, including those by John Barry, Roy Budd, Ron Grainer, Maurice Jarre and Johnny Harris. He co-wrote two biographies of John Barry in 1998 and 2008, and is currently working on a biography of singer, actor, producer Adam Faith.
He joined the Internet Movie Data-base (www.imdb.com) as a data-manager in 2001 and looked after biographies, composers and the music-department, amongst other tasks. He retired after nine years loyal service in order to continue writing.