01 Sep

Joly Braga Santos

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Joly Braga Santos - Orchestral MusicOrchestral Music Naxos 8.573903 Royal Liverpool Philharmonic conducted by Alvaro Cassuto. Symphonic Overtures 1 & 2; Pastoral; Romance; Symphonic Prelude; Intermezzo; Viver ou Morrer Prelude; Piano Concerto. Imagine a delicious cross between...

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01 Sep

British Light Music at the British Home

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On Sunday 24th February 2019 the Mark FitzGerald Orchestra is holding its annual fundraising concert in aid of the British Home.

Venue:
Concert Hall,
The British Home,
Crown Lane
London SW16 3JB

Time: 3.00pm

Tickets: £7.00 [Concessions £5.00] to include tea and coffee.

Booking: 020-8670 8261 or www.britishhome.org.uk Seating is limited- early booking is advised.

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23 Aug

On Green Dolphin Street

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(Bronislau Kaper)
Analysed by Robert Walton

It’s hard to believe that a film tune as original as On Green Dolphin Street would remain virtually unknown for over ten years.

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(Bronislau Kaper)
Analysed by Robert Walton

It’s hard to believe that a film tune as original as On Green Dolphin Street would remain virtually unknown for over ten years. It was written for the 1947 Lana Turner movie “Green Dolphin Street” but if it hadn’t been for American trumpeter Miles Davis’s 1958 recording it might never have surfaced to first become a jazz standard and then a fully paid up member of the Great American Songbook. In the 1960’s I ordered a copy of the sheet music from a well-known shop in Fulham, London, but was told there was no such title as On Green Dolphin Street. I begged to differ of course insisting to go ahead with the order. The following week I was presented with the said song copy and a somewhat embarrassing apology.

One of the best arrangements of On Green Dolphin Street was by Englishman Brian Fahey for Cyril Ornadel’s Starlight Symphony. It was given the full treatment and how! Ornadel’s orchestral policy was to dress-up good tunes symphonically. For openers we find ourselves in the Finale of Sibelius’s 2nd Symphony before the orchestra builds up to a terrific climax getting every ounce of feeling out of this magnificent melody as it soars. Already you may well be saying “I know this tune but not from this source”. Well, you are absolutely right. It bears an astonishing similarity to Lionel Bart’s Food, Glorious Food from “Oliver” but from my observation, it was probably Bart who pinched the idea from Miles Davis.

Anyway since Bronislau Kaper was the first to compose this majestic tune it is only right and proper that this is the one we should be analysing and indeed praising. The beautifully quiet answering phrase with oboe singing its heart out (Sibelius again) is the perfect contrast to the opening. Even in an up-tempo setting it works well - it’s easy to imagine Oscar Peterson’s percussive fingers flying over the piano. The whole chorus reveals itself as a gorgeous song at a time when such compositions were a rarity (Ned Washington wrote the words). No wonder it entered the world of great standards.

Then going into a Latin beat the tune still holds up well revealing its ability to be played in any tempo. Even more in the final moments the answering phrase through to the end is simply gorgeous capturing the imagination. It all adds quality to Kaper’s creation.

To think the seeds of On Green Dolphin Street once lay dormant in the soundtrack of an MGM film about a Channel Islander who emigrated to New Zealand and sent home for the wrong bride. It might have been a weak romance but at least there was a convincing earthquake!

Heard on “Contrasts” Guild (GLCD 5218)

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21 Aug

Bennett: Orchestral Works, Vol.2

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Howard Mcgill (saxophone)
BBC Scottish Symphony Orchestra ● John Wilson
Chandos CHSA 5212 (69:25)

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20 Aug

My Waltz for You

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(Sidney Torch)
Queen’s Hall Light Orchestra
Analysed by Robert Walton

It may not have occurred to you, but Sidney Torch and Nelson Riddle have something in common.

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(Sidney Torch)
Queen’s Hall Light Orchestra
Analysed by Robert Walton

It may not have occurred to you, but Sidney Torch and Nelson Riddle have something in common. They both had a special “feel’’ for music and when the opportunity arose they couldn’t resist the temptation of maximizing the rhythm with a staccato effect, especially in three quarter time. The phrasing of the opening tune of My Waltz for You has two beautiful silences indicating the wonderfully appropriate cut-off points on the second beat of bars 2 and 6. These are both excellent examples of the Torch touch probably first captured by Johann Strauss Junior.

Nelson Riddle in his string arrangement of Vilia (Guild GLCD 5120) played as a waltz, gets every ounce of feeling out of the melody he could possibly find - living every natural nuance. He allows the notes to do the talking. It’s very similar to the Torch approach and gives the tune a whole new boost. They may be modern masters of music but it’s decidedly an “old fashioned” dance feel. In spite of their varied backgrounds, trombonist Riddle from the world of swing and organist Torch from popular music, both seem quite at ease with the same sort of phrasing. In no way is anything ever corny.

So let’s follow My Waltz for You in detail to find out what drives it. Johann Strauss Junior may have been the “Waltz King”, but Sidney Torch was perhaps the “Schmaltz King”, if that tiny intro with a violin solo is anything to go by. Listen to the satisfying way Torch writes for flutes. The first thing you’ll notice is what an exquisite but slightly sad melody it is, caused entirely by the strings arranged in close harmony like a jazz musician might score it. At the same time you couldn’t get a more relaxed waltz if you tried. It’s almost asleep! The first haunting 16 bars include all those staccato breaks, which build up quite logically to a song-like climax.

And so we arrive at the middle section with the tempo just a little faster. The lower strings are followed by flutes, clarinet and violins that shortly take a sudden dramatic dive. An oboe supported by the same flutes, hands back to the strings that ascend to produce a lovely Torch-like symphonic crescendo. Assorted solo brass and harp bring us gently back to the top, with the orchestra providing a positive finish. The tiny intro we heard earlier becomes the coda. The only grumble is that we aren’t treated to any orchestral “improvising” which we get in Torch’s faster pieces. However My Waltz for You is classic Torch with just the right amount of rubato and is given a perfect performance.

“The Queen’s Hall Light Orchestra”
Vocalion CDEA 6094

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28 Jul

American composer/conductor Patrick Williams passes away

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As he was internationally known (mostly for TV Themes and big band jazz arrangements), members of RFS might like to know that American composer/conductor Patrick Williams has passed away.

We refer to the Variety article here.

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19 Jul

Dardanella

Written by

(Felix Barnard and Johnny S Black (music)
Ben Selvin and his Novelty Orchestra
Analysed by Robert Walton

Over the years I have regularly mentioned one of the most significant moments of popular instrumental history in the 20th century, that of David Rose’s million selling Holiday for Strings of 1944. Its influence on light music is still being felt right up to the present day...

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(Felix Barnard and Johnny S Black (music)
Ben Selvin and his Novelty Orchestra
Analysed by Robert Walton

Over the years I have regularly mentioned one of the most significant moments of popular instrumental history in the 20th century, that of David Rose’s million selling Holiday for Strings of 1944. Its influence on light music is still being felt right up to the present day.

But let’s go back nearly a quarter of a century to another important date, 1920, and see what was happening then in the music industry. It was the year of the first known ‘pop’ disc to sell a million - Dardanella - a fictitious Italian or Spanish girl’s Christian name illustrated on a 1919 sheet music cover and inspired by the narrow strait in northwest Turkey. It would eventually sell a staggering 6,500,000 records. Ben Selvin (1898-1980), violinist, bandleader and recording manager, made more band discs than anybody else in the business - 9,000. Dardanella was written by Felix Bernard and Johnny S Black (music) and Fred Fisher (words). Its popularity was due to its continuous pattern in the bass, and is probably the first example of ‘boogie woogie’ in American music. There’s also an obvious touch of ‘shuffle’ tempo about it.

If you happened to have inherited any old 78rpm records, this sound will immediately take you back to those scratchy pre-electric days now of course cleaned up. After a quote from the end of the tune acting as the intro, it goes straight into a four bar rhythmic notation sounding like the first bar of Yankee Doodle. Also there’s a clear reminder of Poldini’s Dancing Doll and plenty of cutting syncopation from the world of ragtime.

Apart from its popularity another claim to Dardanella’s fame comes from a lawsuit in which Fisher sued Jerome Kern for plagiarism, insisting that the boogie-woogie-like recurring bass theme Kern used in his song Ka-lu-a was a steal from a similar device in Dardanella.

It took a good deal of arrogance for Fisher to sue Kern, since Dardanella had itself actually been stolen involving Fisher in a lawsuit of his own. It started out as Turkish Tom Tom a piano rag by Johnny S Black. Fisher wrote words for it and became its publisher, now using the new title of Dardanella. After its initial success, Felix Bernard, a vaudevillian came forward with a claim that it was he and not Black who had composed the main melody and renounced his prior rights to it for a cash settlement of 100 dollars. Bernard went to court to claim some of the royalties, insisting Fisher had defrauded him. Bernard’s case was dismissed but all later sheet music carried Fisher’s name as lyricist, while Black and Bernard are named as composers.

To hear Dardanella try Google.

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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.