REVIEW POTPOURRI: Listening to a pile of 78s
by Peter Cates
Listening to a pile of 78s
After listening to a pile of 78s that are both long forgotten and musically captivating, I wish I could write about each and every one of them, but, for reasons of time and space, can only pick a few; hopefully they can be heard via YouTube.
1. Capitol – #1922 – from the early ‘50s featured jazz/pop vocalist Ella Mae Morse performing Blacksmith Blues; and Love Me or Leave Me, the latter a 1920s hit for Ruth Etting and the title of a 1955 semi-fictionalized biopic with Doris Day portraying Miss Etting and co-stars James Cagney and Cameron Mitchell.
Morse was one of the several artists whom Johnny Mercer and Buddy De Sylva signed up in 1942 when they started Capitol Records and quickly earned a reputation for high quality music among collectors.
She sang with verve and had the pulsating arrangements of conductor Nelson Riddle who was kept busy at Capitol recording with Nat King Cole and Frank Sinatra.
2. Decca – #28736 – had the Mills Brothers utilizing their uniquely smooth harmonies on Don’t Let Me Dream; and Pretty Butterfly, with lyrics by Sunny Skylar set to the tune of Antonin Dvorak’s Humoresque (Skylar, who died at 95 in 2009, supplied the English lyrics for the 1940s Latin American pop classics Besame Mucho; and Amor.).
The disc was recorded in 1953 and had superb big band arrangements from Owen Bradley, who usually oversaw country singers in Nashville such as Red Foley, Ernest Tubb, Patsy Cline, Kitty Wells, Loretta Lynn, Conway Twitty and Brenda Lee.
3. Decca – #1833 – recorded 1939, had British tenor Donald Novis (1906-1966) singing Charmaine; and Angela Mia in a style best described as an especially syrupy imitation of Irish tenor John McCormack without McCormack’s distinctive vocalism.
Novis was accompanied by organist Eddie Dunstedter (1897-1974). Despite misgivings about Novis’s singing, I did enjoy this blue label Decca 78, which retailed for 35 cents.
Charmaine later became more famous as an early ‘50s hit record for Mantovani and his Orchestra and the theme song for his syndicated early ‘60s TV show .
4. Victor – #27869 – recorded 1943, had the phenomenal Tommy Dorsey (1905-1956) and his Orchestra in two selections.
Side One’s I’ll Take Tallulah was a topic of the day roll call of then-famous movie actresses, Tallulah Bankhead being the honoree, and was written by the songwriting team of Yip Harburg and Burton Lane for the MGM musical Ship Ahoy; in 1947, Harburg and Lane would write the Broadway musical masterpiece Finian’s Rainbow. Dorsey’s lead singers Frank Sinatra and the Pied Pipers did the vocals.
The second side, Not So Quiet Please, was, for me, the main attraction, and a very exciting instrumental showcase for Dorsey’s young drummer Buddy Rich by composer Sy Oliver.
Rich also had a bad temper and, for some strange reason, started badgering the already bad tempered Sinatra who responded by throwing a glass pitcher of ice water at the drummer, which missed him by less than an inch. Later the two kissed and made up, even sharing an apartment for a brief period.
5. A late 1920s dime store label Supertone – #S2113 – had tenor Frank Munn (1894-1953) giving sublime renditions of two classic songs from the very old days of the 1890s to early 1900s – the especially exquisite Silver Threads Among the Gold; and When You and I Were Young, Maggie. Munn was listed as the pseudonymous Frank Whalen. His singing had the phrasing, delivery, conviction and eloquence, qualities that were lacking in the previously mentioned tenor Donald Novis.
6. Victrola Red Seal – #87571– acoustically recorded in April 1920, on a one-sided ten-inch shellac, had the great Irish tenor John McCormack (1884-1945) and violinist Fritz Kreisler (1875-1962) collaborating in a very powerful song, When Night Descends, by composer Sergei Rachmaninoff (1873-1943). A quite exceptional disc from more than 100 years ago.