REVIEW POTPOURRI

by Peter Cates

Yvonne Elliman

If I Can’t Have You; Good Sign
RSO, RS 884, seven-inch vinyl 45 record, recorded 1977.

Yvonne Elliman

Yvonne Elliman (1951-) first raised the goosebumps on my arms during a chance hearing of the then newly-released Jesus Christ Superstar, back in November 1970, via a friend’s set, followed shortly by the purchase of my own copy. However, it would be played so often during the next several months that I grew so sick of it I couldn’t listen to it for at least 30 years (A similar experience occurred with my copy of Carole King’s Tapestry. I still can’t stand Tapestry but I can rehear JCS occasionally now with fresher, more mature ears!)

If I Can’t…. is a superb number composed by Barry, Maurice and Robin Gibbs, or the Bee Gees, and performed with finesse by Elliman but the flip side, credited to the very gifted team of Carole Bayer Sager and Melissa Manchester, left me cold !

This year, as Elliman was preparing for an appearance in Guam, she was arrested for the possession of marijuana and other drugs and is still in custody!

Mozart

Eine Kleine Nachtmusik (A Little Night Music)
Linz Symphony; Antal Dorati conducting the London Symphony; Mercury SR 90121, 12-inch stereo LP, recorded early ‘60s.

Antal Dorati

Antal Dorati (1906-1988), along with Herbert von Karajan, Leopold Stokowski, Arthur Fiedler and Eugene Ormandy, were the five most prolific conductors when it came to the number of recordings bearing their names, in each case, well above six hundred. Of course, there is no way I can hear all of them; also, the ones I have heard over the last 50 years have inspired mixed reactions from boredom to riveting. But, during the last two years, I have developed an interest in his conducting, as far as a thorough reconsideration of the recordings I didn’t like earlier and an eagerness to hear ones I don’t own.

I experienced this change of heart when I read a piece on the Maestro in which the record reviewer Richard Freed discussed how Dorati’s consistently high standards and thorough musicianship had borne fruit in every recording the critic had heard thus far. I found it especially edifying because I had always enjoyed Freed’s individualistic discernment, combined with a voracious determination to hear every classical record coming his way. And Dorati was the only conductor who could do no wrong in his eyes.

Secondly, a group has sprung up in England that is determined to release every studio and live recording bearing Dorati’s name, whether it be the rarely heard 7th Symphony of Alan Pettersson or six different Berlioz Symphonie Fantastiques; they have developed a catalog of formidable size and temptation. If I were 40 years younger, I would make a mad attempt to collect it all!

The Mozart 36th, or Linz, Symphony is one of my half dozen favorites of the Austrian genius. Its leisurely lyrical outpouring of the sweetest melody is unequaled by #s 35 and 38-41, as special as they are. Dorati’s rendition is both leisurely paced but rhythmically incisive.

The accompanying Nachtmusik is a very popular work elsewhere but, unfortunately not one I have liked much in recent years; however, Dorati conducted a most satisfying performance that has me enjoying its beauties once again.

REVIEW POTPOURRI

by Peter Cates

Archie Bleyer

Music from the Pajama Game
Cadence, EP 4054/5, two ep 45s, recorded 1954.

Archie Bleyer

After serving seven years as Arthur Godfrey’s music director, Archie Bleyer (1909-1989) was unceremoniously fired almost the same day in 1953 as Julius LaRosa. Meanwhile, Bleyer had founded Cadence records where he would be developing a catalog that would eventually include LaRosa, the Chordettes, Andy Williams, the Everly Brothers, Link Wray and, in 1962, the megahit First Family album, featuring one North Vassalboro native, the late Vaughan Meader, whose day in the limelight ended, of course, on November 22, 1963.

The 45 rpm set under consideration this week features Bleyer, with his orchestra; the Ray Charles Singers, who backed up Perry Como on his own RCA records and TV shows for ten or more years; and singers Stephen Douglass, Dorothy Evans and Arthur Malvin, performing eight songs from the 1954 musical, Pajama Game, later even better known as a 1957 film with Doris Day and John Raitt. Two songs from the musical were hit records on their own – Hernando’s Hideaway for Bleyer and Hey There for Rosemary Clooney.

The renditions here of these superb songs were spirited in the best sense of the word. Some of them can also be heard on YouTube.

A P.S.- Bleyer got married to one of the Chordettes, Janet Extel, while both parties were still working for Godfrey, thus violating the boss’ rule about dating fellow employees – a factor most likely contributing to Bleyer’s dismissal!

The Big Sleep

starring Humphrey Bogart, Lauren Bacall, Martha Vickers, Elisha Cook Jr., Bob Steele, John Ridgeley, Dorothy Malone, etc.; directed by Howard Hawks; Warner Brothers, released August 23, 1946, 114 minutes.

Humphrey Bogart

In terms of the number of times I have watched this film since my first viewing at the Cambridge, Massachusetts, Brattle Street Theater in May 1974, the Big Sleep is my favorite from the peak film noir period from the mid-’40s through the ‘50s, when the detective movies and TV shows had a combination of quantity and quality that would remain unmatched to this day.

Humphrey Bogart may have given his best performance as the cynical, ever chain-smoking, always reparteeing detective Philip Marlowe. When he visits the very rich, but ailing General Sternwood (portrayed most movingly by the veteran stage and screen actor, Charles D. Waldron, just two years before his own death at 71), and is asked by the gentleman how he likes his brandy, he replies, “In a glass!”

Within ten minutes of the visit, Marlowe meets the general’s two daughters – the eldest, Vivian, (Lauren Bacall,) who , as described by her father, is “spoiled, exacting, ruthless”; and the youngest, Carmen, (Martha Vickers,) a quite promiscuous, addicted-to-dope loose cannon who wreaks much havoc on a regular basis.

The plot initially centers around Marlowe being hired by Sternwood to get a blackmailer to leave Carmen alone, the second such situation she has gotten herself into. And this problem is the most minor of a Pandora’s Box of nastiness involving pornography, deceit, grifters, hit men and at least five murders. And one fun movie!

The acting is masterful throughout all major and minor roles. Max Steiner’s lush soundtrack enhanced the melodramatic scenes in a most riveting manner right up to a truly cathartic climax.

The great Southern novelist, William Faulkner, was one of the three scriptwriters.

Beach Boys

Beach Boys

Spirit of America Capitol- SVBB 511384, two stereo LPs, released 1975.

Spirit of America collected 23 tracks consisting of earlier Capitol hits that were not part of 1974’s anthology, Endless Summer; it also contained a few album cuts regarded as worthy of inclusion and two rare 45 gems –1969’s Break Away and a very sweet gem from 1965, The Little Girl I Once Knew.

In fact, the entire album is a treasure of very captivating songs, each of which should be accessible for listening on youtube! This group was a major contributor to American music that will live on in posterity.

Rimsky-Korsakoff

Scheherazade
Leopold Stokowski conducts the Royal Philharmonic: RCA Victor ARL-1-1182, 12-inch stereo LP, recorded 1969.

Rimsky-Korsakoff

This piece has not only been recorded dozens of time, but has generated good recordings in almost every instance, at least among the ones I have heard own. The reason may be that players really love playing it and willingly and fully cooper-ate with conductors to achieve the best possible results!

The above is the last recording of at least four different ones that Leopold Stokowski (1882-1977 ) did; his first complete recording appeared in a 78 rpm set in 1927, the ad for it displayed on the back of the 1969 release. And it is pos-itively a joy, with much excite-ment, colorful instrumental detail, pulse and vivid sound and is a great choice for collectors.

Beethoven

Symphonies 1 and 9 Fritz Reiner conducting the Chicago Symphony Orchestra and Chorus, with soloists- RCA Victor LSC 6026, two vinyl 12-inch LP, recorded spring, 1961.

Fritz Reiner

Just before the Chicago Symphony 1960-61 season, the orchestra’s music director, Fritz Reiner (1888 – 1963), was struck down severe heart disease but recovered enough to sit in a chair most of the time while conducting. And just in time to conduct the last concert of the season in May, 1961.

The program was the First and Ninth, or Choral, Symphonies, a concert so immensely exciting, stirring, exalting, inspiring — all these superlatives together with others would not begin to touch what people were applauding – and what Reiner drew from all of the players, singers and four soloists that one spring night, according to observers, and while in the frail health that would lead to his resignation in late 1962.

At 6 a.m. early the next morning, RCA Victor recorded the program in which Reiner delivered similar results that can be heard on the above-listed set, one still available on CD and most of it accessible on YouTube!

REVIEW POTPOURRI

by Peter Cates

The Captain and Tennille

Love Will Keep Us Together/Gentle Stranger
A t M- 1672, seven-inch stereo vinyl 45, recorded 1975.

The Captain & Tennille

This highly successful duo, married for 39 years until 2014, were both keyboardists, Toni Tennille playing with the Beach Boys for one to two years and jokingly referred to as the only Beach Girl in its history! Meanwhile Daryl Dragon was the son of the Capitol records conductor, Carmen Dragon, whose LPs have given me much listening pleasure for over 40 years.

Love Will Keep Us Together was not only a megahit for Daryl and Toni but a first class Neil Sedaka composition superbly arranged and performed. Finally, one of my favorite five sides from the ‘70s. The B side went in one ear and out the other!

Graham Greene

The Human Factor
a novel; Avon paperback, 1978, 302 pages.

Graham Greene

I am an admirer of Graham Greene the writer, 1904-1991, and have been since I read the 1951 End of the Affair 40 years ago. I just finished the above novel for the third time, itself one that has also stood out in my mind since my first reading of it, almost 40 years ago just after its publication. Both books deal with different forms of treachery, a favorite Greene theme; the compulsion to do it; the knowledge of its terrible effects, not only on one’s life but the lives of those one loves; and, in the end, the sense one has been damned irrevocably in the aftermath.

End of the Affair dealt with a selfish, very hateful man who has an affair with a friend’s wife, won’t take no for an answer when she ends it and causes a tragic death through his manipulative behavior.

The Human Factor deals with two intelligence clerks for England’s MI6, its own CIA, who read and assess mostly minor stuff from branch offices around the world; they are friends, but soon run into trouble when the boss spies smell a leak. The older friend, Castle, is a traitor; the younger colleague, Davis, is not but he is reckless, drinks and talks way too much and take reports out of the building to read at lunch. To protect himself, Castle deviously sets up Davis, and more treachery with a high cost in relationships with family and friends ensues.

Greene further had a unique gift for filling an often ordinary scene with fear, simply by using a tinkling cocktail, a damp morning waiting for a bus or noticing a butterfly struggling to fly on a village green picnic.

To close with a quote: “From the window on the 12th floor of the great gray building, Castle could see the red star over the University. There was a certain beauty in the view as there is in all cities at night. Only the daylight was drab.” There is very little comfort in the fiction of Graham Greene and what little there is will quickly prove an illusion.