Robert Farnon & His Orchestra
Analysed by Robert Walton
There can’t be many arrangements that have such a variety of musical nuts and bolts - Canadian Caravan, “James Bond”, “Maytime in Mayfair”, Count Basie, Fred Astaire and Gilbert and Sullivan. The opening alone is one of the most thrilling in music taking full advantage of the arrival of stereo. You’ve never heard strings, brass and woodwind like it. Purists of comic opera were not exactly pleased but American audiences enjoyed Mike Todd’s “The Hot Mikado”, his first Broadway musical in 1939.
And then the orchestra swings like the clappers in a way that the original “Mikado” never did and never will again. A toe-tapping rhythm grabs you everytime and instantly brings back Gilbert’s lyrics in a most unexpected setting. And talking of feet, we’re treated to a dazzling display of ‘Astaires’s wares’ after which the ghost of Count Basie bounces in. (I once met Robert Farnon at a 1957 Basie concert in which he described the sound as “a shot in the arm!”).
The piece gradually builds up to a terrific climax influenced by the orchestra long considered one of the world’s best swing bands Count Basie, on a par with Duke Ellington and Jimmy Lunceford. The Farnon sound still bears the stamp of Kansas City. The brass belts away with the strings having the final say.
Let’s remind ourselves of those clever catchy words we heard in our youth.
My object all sublime
I shall achieve in time-
To let the punishment fit the crime,
The punishment fit the crime;
And make each prisoner pent
A source of innocent merriment,
Of innocent merriment.
My Object all Sublime (Gilbert & Sullivan)
Jack Saunders Orchestra (actually Robert Farnon’s Orchestra)
“A Box of Light Musical Allsorts”
Golden Age of Light Music
Guild Records GLCD 5157
Elgar and His Peers, The Art of the Military BandWritten by Super User
ELGAR AND HIS PEERS, The Art of the Military Band SOMM CD0170 London Symphonic Concert Band conducted by Tom Higgins and the Joyful Company of Singers directed by Peter Broadbent...
Raymond Lefèvre - Holiday Symphonies & Tomorrow’s…Symphonies du FuturWritten by Peter Burt
RAYMOND LEFEVRE & HIS ORCHESTRA
Holiday Symphonies & Tomorrow’s…Symphonies du Futur
Vocalion CDLK 4592 (77:15)
Raymond Lefèvre (1929-2008) was one of the triumvirate of French easy listening orchestra leaders/arrangers/composers – the others being Paul Mauriat and Franck Pourcel – who sold millions of albums around the world in the 1960s and ‘70s.
International tribute to Paul Mauriat (about new recordings from Paris)Written by Super User
Grand Orchestra of Jean Jacques Justafre (France) had its second birth in America thanks to the efforts of USA producers Alexander Goldstein and Boris Lontsikh. The producers reached out to Grand Orchestra of Jean Jacques Justafre (GOJJJ) leader, one of the last conductors of the legendary Grand Orchestra de Paul Mauriat. GOJJJ is welcome in many countries primarily for its efforts to preserve the style, and most importantly, the sound of Paul Mauriat's orchestra.
The producers gave GOJJJ a very different challenge. They carefully selected music material and style for the new arrangements, so that on the one hand, it would be recognizable to a wide circle of music fans, and on the other, introduce a new big symphonic orchestra sound of the 21st century...
Read more details about brand new CD album:
Hubert Clifford The Cowes Suite and other worksWritten by Super User
Vocalion CDLX 7338 BBC Concert Orchestra conducted by Ronald Corp.
The Cowes Suite (Cowes Roads, Buccaneer, Carnival & Fireworks, Royal Visitor); Dargo (A Mountain Rhapsody); Irish Comedy Overture; Pageant of Youth; Left of the Line; Victorian Polka; Hunted (1952 film suite); Voyage at Dusk (Fantasy).
Vocalion CDLX 7338 BBC Concert Orchestra conducted by Ronald Corp.
Crossings (Suite for Orchestra); Enchanted Wood; A Vision of Night (Symphonic Poem); Dusk (Waltz from the Fancy Dress Suite); Suite in A for Violin and Orchestra; The Cat and the Wedding Cake; Four Orchestral Dances.
Aspidistra Drawing Room Orchestra Concert – May 29th 2017Written by Tony Clayden
By Tony Clayden
An extensively re-furbished Lauderdale House, in North London’s Highgate Village, was the venue for the annual Spring Concert given by the Aspidistra Drawing Room Orchestra. This was their sixteenth consecutive Bank Holiday event, which was well supported by many faithful ‘regulars’ – including several from the London Light Music Meetings Group – and in addition, a number of ‘first timers’...
An extensively re-furbished Lauderdale House, in North London’s Highgate Village, was the venue for the annual Spring Concert given by the Aspidistra Drawing Room Orchestra. This was their sixteenth consecutive Bank Holiday event, which was well supported by many faithful ‘regulars’ – including several from the London Light Music Meetings Group – and in addition, a number of ‘first timers’.
Amongst the latter was Howard Del Monte, who had travelled from Hampshire to hear a spirited rendering of his father Sydney’s composition ‘ Bows and Bells ‘. This was a popular
favourite on BBC Radio around fifty years ago. Sydney Del Monte was a guitarist and banjo player, who was a regular member of The Banjoliers for many years.
We were treated once again to an afternoon of fine ‘Palm Court’ music in contrasting styles; a few ‘fast and jolly’ compositions, interspersed with some calmer pieces and garnished with some songs performed Liz Menezes and Camilla Cutts.
Nearly one hundred years of musical heritage was represented, ranging from ‘light classical’ to ‘jazzy’. The programme featured a line-up of works, which, with one or two exceptions, have not previously been performed by the orchestra. These included two selections with a definite gipsy influence, from the Russian composer Yascha Krein and G. S. Mathis [a pseudonym of Hungarian émigré Matyas Seiber].
Other composers featured included Charles Ancliffe, Sigmund Romberg, Gerhard Winkler and Albert Ketelbey, who made two appearances with pieces written specifically to accompany silent films. A later generation was represented by, amongst others, Horst Jankowski, Ray Martin and Leroy Anderson.
A welcome surprise was the original version of the famous ‘American Patrol’ by Fred Meacham, in a very different rendition from the familiar arrangement made popular by Glenn Miller and others.
Adam Bakker, who runs and directs the orchestra, has recently acquired the entire collection of sheet music previously owned by Ann Adams, who was the founder of – and for many years conducted – the Ladies Palm Court Orchestra. Four of the items on the programme came from this source. Speaking to Adam during the interval, it became apparent that he faces a mammoth task of sorting and archiving this vast inventory of compositions !
As always, the orchestra’s performance was of a very high standard, the players obviously relishing the opportunity to perform repertoire from a ‘threatened genre’ which, most regrettably, achieves very little exposure these days.
Very many thanks are therefore due to Adam Bakker and the Aspidistra Drawing Room Orchestra, for presenting another really enjoyable concert and especially for continuing to promote ‘Palm Court’ music.
Report on the Spring Event of the London Light Music Meetings Group - May 7th 2017Written by Brian Reynolds
About sixty people had made the journey to the Lancaster Hall Hotel in London to enjoy our bi-annual feast of light music.
Tony Clayden welcomed us to the meeting, ...
By Robert Walton
There was a school of thought that believed popular musicians with foreign sounding names had a commercial advantage over common or garden Anglo Saxon ones. Catchy names like Mantovani or Kostelanetz certainly had a ring to them but just because they looked or sounded more distinguished than say the Chacksfields or the Farnons of this world weren’t necessarily a guarantee of classier music. After all, most English born music directors had quite ordinary names, ...