Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
The Jazz Album Darius MILHAUD
(1892-1974) La Création du monde, Op.81 (1923) [16:28] 1 George GERSHWIN
(1898-1937) Rhapsody in Blue (1924) orch. Ferde
GROFÉ (1892-1972) [16:02] 3 Henry CREAMER
(1879-1930), Turner LAYTON
(1894-1978)
After you’ve gone (1918) [3:22] Billie MEYERS, Elmer SCHOEBEL
(1896-1970), Gus KAHN (1886-1941),
ErnieERDMAN (1879-1946)
Nobody’s Sweetheart (1924) [2:30] Igor STRAVINSKY (1882-1971)
Ebony Concerto (1945) [8:58] 2
Will HARRIS (1900-1967), Victor YOUNG (1900-1956)
Sweet Sue (1928) [4:43] 5
Felix BERNARD (1897-1944), Johnny S. BLACK
Dardanella (1919) [2:59]
Walter DONALDSON (1893-1947), Gus
KAHN (1886-1941)
Makin’ Whoopee! (1928) [3:37] 5 Walter DONALDSON (1893-1947),
George WHITING (1884-1943)
My Blue Heaven (1927) [3:12] 5
Lindsay McPHAIL (1895-1965), Walter MICHELS
San (1920) [3:09]
Leonard BERNSTEIN (1918-1990)
Prelude, Fugue and Riffs (1949) [7:45] 2,
3 1
John Harle (alto saxophone), 2 Michael Collins (clarinet),
3 Peter Donohoe (piano), 4 Jeremy Taylor (high
tenor), 5 Harvey and the Wallbangers,
London Sinfonietta/Sir Simon Rattle
rec. 30-31 December 1986, 2-3 January 1987, CTS
Studios, Wembley
CLASSICS FOR PLEASURE
5218602 [73:35]
Plenty of good clean - and not so clean - fun here! We begin with
a languid reading of Milhaud’s fascinating piece, the London Sinfonietta
and John Harle’s alto saxophone articulate in the jazz phraseology
required but never pretending that this is more than an early
European take on jazz, not trying to play as if it is jazz.
The result has a kind of sultry ardour, hinting at explosions
that never quite come. Later on, in Stravinsky’s Ebony Concerto
one could perhaps do with a bit more of the spirit of jazz itself
in Michael Collins’ clarinet playing, which is a little on the
over-polite side – as, indeed, is some of the trumpet work. Of
the substantial pieces here, this is the performance about which
I have most reservations. Rhapsody in Blue we hear in the jazz-band
arrangement by Grofé which I, at least, much prefer to the same
arranger’s version for symphony orchestra. Peter Donohoe is a
fluent but somewhat understated soloist, operating by relatively
small gestures; but the whole works pretty well – even if there
would be scope for a greater sense of freedom in some of the interplay
between soloist and band. Bernstein’s Prelude, Fugue and Riffs
makes for a splendid conclusion. I wonder if this was recorded
last as well as being placed last on the disc? Certainly there
is an assurance and relaxation, a quality of sheer swing, greater
than that to be heard elsewhere on the disc. Soloists and London
Sinfonietta – and Sir Simon, for that matter – sound as though
they are really enjoying themselves here, in a performance of
splendid exuberance and conviction, whereas in the other pieces
so far discussed there are occasional moments which seem slightly
over-studied.
Alongside these
four pieces in which – more or less – jazz meets the classical,
the disc offers a series of arrangements commissioned for Paul
Whiteman’s Orchestra, several of them impressive and striking.
‘After you’ve gone’ is heard in a lovely arrangement by William
Grant Still, full of attractive orchestral colours, and delightful
portamenti; Lennie Hayton’s arrangement of ‘Nobody’s Sweetheart’
actually finds room for an apt allusion to Petrushka!. The always
accomplished Bill Challis contributes three arrangements, those
of ‘Sweet Sue’, ‘Dardanella’, and ‘San’ (particularly rewarding),
while Ferde Grofé is responsible for the arrangements on ‘Makin’
Whoopee!’ and ‘My Blue Heaven’. All – especially those by Challis
– have their attractions.
The documentation
on this reissue is pretty sparse. I have provided as much information
as I can at the head of this review, but have had to leave one
or two gaps. Otherwise there’s not much to complain about here,
though personally I have never taken much pleasure in the vocal
work of Harvey and the Wallbangers, which always seems too close
to reductive pastiche. Otherwise this is an enjoyable programme,
the Whitman arrangements as much as the set pieces, the London
Sinfonietta evidently relishing this repertoire.
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.