(George Elliott)
Analysed by Robert Walton

In the 1970s when British commercial radio became legal, George Elliott was Head of Productions at LBC (the London Broadcasting Company off Fleet Street). We first met in that capacity when I was a voice over artist. He was also a commentator but I had no idea he was a composer as well. Clearly a man of many talents.

His Piccadilly Playboy was along the lines of Robert Farnon’s ManhattanPlayboy but eminently less frantic with a more basic orchestration. Strangely enough before Bob moved to Guernsey, the Farnons and Elliotts were neighbours in Gerrard’s Cross. Perhaps George caught the musical bug in Buckinghamshire. He remembered the occasion Bob wrote Bird Charmer for his son David. The inspiration for the title actually came from David’s mother Pat who said that “he could charm the birds out of the trees!”

But this is George Elliott’s Piccadilly Playboy written in 1958 and played by the Symphonia Orchestra conducted by Curt Andersen. It starts with 4 bars of busy woodwind and muted brass straight into the arms of waiting unison strings for a lesson in the art of smooth legato phrasing. At the appropriate moments decorative woodwind slot in to this pleasant 1940’s-type mood music melody.

There’s a noticeable moment’s silence before the bridge begins. Normally this would be filled with orchestral activity but the arranger decided on this occasion to have a deliberate pause. The rhythm section you’ll observe is barely audible. The brass takes the lead while arco strings steadily climb up for decorative duties changing to pizzicato. Another silence.

Back to the main strain as the strings now in harmony keep things moving. Yet another silence. Unison strings play another section, effectively a bonus bridge. After much coming and going we eventually find ourselves back at the official bridge.

Before you can say “George Elliott” the opening is repeated and we go headlong towards the close. Piccadilly Playboy builds up to a satisfactory conclusion with a positive brass assisted finish. It all sounds so effortless.

The English playboy mightn’t be quite as hurried as the American but predictably is more formal and laid back.

Can be heard on
“Light and Lively”
Golden Age of Light Music
Guild Records (GLCD 5160)