Reviews
5103 - The Golden Age of Light Music: The 50's
Keana
Santinel – 20/01/2005
CD isn 't light on British light music
By FRANKBEHRENS Contributing Writer
I told you recently about one of the historical Guild recordings. It also has,
among its many fascinating catalogue entries, two CDs of light music from the
1940s and from the 1950s. While those concentrated on British
composers and bands, the latest offering, “The Golden Age of Light Music: the
1930s,” gives us a cross-section of records made on both sides of the Atlantic.
Composers include Richard Rodger (“Slaughter on Tenth Avenue”), John Ansell
(“Plymouth Hoe”) and other names possibly more familiar to British music lovers
than to us. Among the orchestras are those of Paul Whiteman and even the Berlin
Philharmonic.
But the main point of this CD is a lesson in living musical history. As singing
at the parlor piano gave way to listening to acoustic recordings, the advent of
the electric recordings made listening even more pleasurable. No surprise, then,
that pieces short enough to be accommodated on one side of a disc were the
perfect grist for the record companies’ mills.
So
you can enjoy this Guild offering on two levels.
This is in many ways
a very different disc to the 1940s edition from the same Guild series. The first
thing that I noticed is the improvement in the sound quality. Now this has
nothing to do with the fantastic work of Guild Records. It is quite simply that
the 1950s were the era of the 45 rpm disc, the LP and of course the first forays
into stereophonic sound. Accordingly it makes for very comfortable listening;
one does not need to make allowances for the noisy '78' surfaces.
As to the style of
the music, there is a certain amount of inspiration from 'swing' - not a lot but
just enough to make it clear that its influence has rubbed off. However, we have
no intimation that ‘Rock and Roll’ was invented in this decade!
Once again the disc is crammed full - 77 minutes - of magical, racy and
inspiring tunes from the great post-war decade. There are some real treats here.
These range from classic jazz standards reworked for orchestra to well known
radio programme theme tunes that have spanned the generations. There is a splash
of romantic music and lots of fun too. The whole album is epitomised by the
feeling that 'I have heard it all before'; even the numbers that are not
familiar. Now this is the great thing about music of this era. Much of it was
used on television programmes in the 1950s and 1960s. The old 'light' programme
featured a vast amount of this kind of music before they discovered 'pop.' Many
of us in the UK of a certain age remember 'Friday Night is Music Night,' still
going strong on Radio 2. Even as a child this programme was often 'on' at my
grandmother's house. From being knee high to a grasshopper all this music was
slowly sinking into my mind.
There is no need to
discuss all these evocative works. I intend to select a few highlights. Note
that the music is played by orchestras whose leaders were often composers or
arrangers in their own right. They are all here on this disc - David Rose,
Edmundo Ros, Mantovani, Billy Cotton, Frank Chacksfield and Stanley Black, to
mention just a few.
I notice that there
is a nice balance between 'tone poems' and arrangements and impressions.
Beginning with the former, Charles Williams is at home both on the conductor's
rostrum and at the composer's desk. His Heart-O-London is a classic
example of the 'Capital' genre, which can be added to those of Haydn Wood and
Eric Coates. This work was commissioned around the time of the Coronation of Her
Majesty Queen Elizabeth II and has echoes of Big Ben and the ubiquitous street
cry, Cherry Ripe.
Whilst on the 'big
city' theme I must mention Cyril Watters' fabulous Piccadilly Spree. This is a
fine example of how light music requires superb craftsmanship to give its best
effect. This is a 'great' piece that fairly bustles along. It perfectly
describes the mood of the place. It makes you feel great to be alive - and happy
and proud to be living and working in London!
Moving swiftly on to
Spain ... We have a fine version of Augustin Lara's great song Granada.
The Monty Kelly Orchestra brings some of the magic of Chacksfield's moonlight
and sunshine moods to a well-known tune.
Paris is always
close to the heart of composers and Edward White's Paris Interlude is as
good as it gets. Of course he is best known for his Runaway Rocking Horse
and Puffin' Billy. The present piece is an attractive work that gives an
impression of gay Paris in the aftermath of the war. It was composed in 1952.
One of the
highlights is Richard Addinsell's Festival. This is played by Mantovani
and his Orchestra. It is one of those pieces that I have always wanted to hear.
I knew that he wrote this work - presumably for the Festival of Britain, yet I
never managed to catch up with it. Ever since listening to the Warsaw Concerto,
I have been an enthusiast for his music. We are lucky to have recently enjoyed
two discs from ASV and one from Chandos, so our knowledge of this fine composer
is getting more comprehensive. Festival is quite a big, sweeping piece
that has the overtones of a film score about it, although it really is a short
'overture', with a lovely romantic tune.
There are a number
of arrangements on this disc. David Rose and his Orchestra give a contemporary
arrangement of the Gershwins' Liza. Duke Ellington is represented by a
less than effective arrangement of Caravan by Philip Green. Like the
volume of music from the 1940s, there is a film medley, Parade of the Film
Hits. This has tunes as diverse as Broadway Melody, Laura, Wedding of the
Painted Doll and Over the Rainbow. Richard Rodgers is represented by
an attractive version of Blue Moon.
Proud
Canvas by Robert Farnon has
little to do with an artist's studio, but everything to do with the sea. Of
course, Farnon would go on to compose the music for 'Captain Horatio Hornblower'
(starring Gregory Peck and Virginia Mayo). This present work was often used as a
background to any film or programme that need 'seascape' music. It has a
distinctly nautical feel about it that has often been copied but never bettered.
There are a few
'dance numbers' on this disc - all of them attractive. Ray Martin does us proud
with his Dancing Bells; one of those little tunes that seems to be so
well known. Of course, another big hit by this composer was the ubiquitous
Marching Strings - better known as the theme to Top of the Form. However this
was written using one of his pseudonyms, Marshall Ross. The recording of Joe
Heyne's Petite Waltz is perhaps the least well recorded of the entire
disc. However, it is played by the redoubtable Billy Cotton and his Band so it
is well worth preserving even if the sound quality is not at its best. This is
another well known tune by a lesser known composer and with a little known
title. Sydney Torch's attractive Flirtation Waltz and David Rose's
wonderful Waltz of the Bubbles completes this review of 'dance' music.
My final selection
from this album is Robert Busby's great tune Sportsmaster. This is an
excellent, catchy march that was used as the music for a cigarette advert back
in the ’fifties when we were allowed to smoke! I also wonder if it was used as
theme music to a sports programme television. (Readers, please advise!)
Altogether a
fine album of attractive, evocative and nostalgic music. But never let these
adjectives get in the way of the fact that this is good, well constructed,
beautifully orchestrated and well balanced music. Just because there is a good
tune and a bit of a swing does not invalidate its claim to be great music. Light
music is an art of its own and thankfully listeners realise that this legacy is
of value and worthy of preservation and propagation. Well done Guild! Let's hope
that there are a few more albums like this 'on the stocks.'
John France
MusicWeb Tuesday June 08 2004
Light
Music at its very best. The 1950's were great years for this genre of
attractive, evocative and nostalgic music. Great album, great tunes and great
playing. ... John France – MusicWeb
The Golden
Age of Light Music: The 1950s
George and Ira GERSHWIN, Sammy KAHN
Liza:David Rose and his Orchestra 1951
Duke ELLINGTON Caravan:
Philip Green and his Orchestra 1953
Marshall ROSS Marching
Strings: Edmundo Ros and his orchestra 1952
Frank PERKINS Fandango:
Hugo Winterhalter and his Orchestra 1953
Charles WILLIAMS
Heart-O-London Charles Williams and his Orchestra 1953
Brett WILSON (arr. Trevor DUNCAN)
Hey Presto: New Concert Orchestra conducted by Frederic Curzon
1953
Noel GAY The Melody Maker:
Robert Inglez and his Orchestra 1950
Robert FARNON Proud Canvas:
Queens Hall Light Orchestra conducted by Robert Farnon 1950
Richard ADDINSELL Festival:
Mantovani and his Orchestra 1950
Richard RODGERS and Lorenz HART
Blue Moon: Paul Weston and his Orchestra 1950
Ray MARTIN Dancing Bells
Grosvenor Concert Orchestra conducted by Peder Van Zuider 1952
Augustin LARA Granada
Monty Kelly and his Orchestra 1953
Joe HEYNE Petite Waltz:
Billy Cotton and his Band 1950
Sidney TORCH Shortcake Walk
Sidney Torch and his Orchestra 1952
R. HEYWOOD Flirtation Waltz:
Frank Chacksfield and his Orchestra 1951
Angela MORLEY Angel Cake:
Dolf Van Der Linden and his Orchestra 1953
David ROSE Waltz of the
Bubbles: David Rose and his Orchestra 1953
Robert BUSBY Sportsmaster:
Danish State Orchestra conducted by Robert Farnon 1952
Edward WHITE Paris
Interlude: Music by Camarata 1952
Charles TRENET At Last, At
Last: Ray Martin and his Orchestra 1952
BUSCH and DELUGG Roller
Coaster Henri Rene and his Orchestra 1951
AHLERT The Moon was Yellow:
Stanley Black, his Piano and his Orchestra 1950
Cyril WATTERS Piccadilly
Spree New Concert Orchestra conducted by R. de Porten 1953
Geoffrey HENMAN Champagne
March: Queens Hall Light Orchestra conducted by Robert Farnon 1953
Esy MORALES Jungle Fantasy:
Percy Faith and his Orchestra 1952
VARIOUS Parade of Film Hits
Melachrino Orchestra conducted by George Melachrino 1953.Recorded c.1950-53
GUILD GLCD 5103 [77.52]
This is in many ways a very different disc to the 1940s edition from the same
Guild series. The first thing that I noticed is the improvement in the sound
quality. Now this has nothing to do with the fantastic work of Guild Records. It
is quite simply that the 1950s were the era of the 45 rpm disc, the LP and of
course the first forays into stereophonic sound. Accordingly it makes for very
comfortable listening; one does not need to make allowances for the noisy '78'
surfaces.
As to the style of the music, there is a certain amount of inspiration from
'swing' - not a lot but just enough to make it clear that its influence has
rubbed off. However, we have no intimation that ‘Rock and Roll’ was invented in
this decade!
Once again the disc is crammed full - 77 minutes - of magical, racy and
inspiring tunes from the great post-war decade. There are some real treats here.
These range from classic jazz standards reworked for orchestra to well known
radio programme theme tunes that have spanned the generations. There is a splash
of romantic music and lots of fun too. The whole album is epitomised by the
feeling that 'I have heard it all before'; even the numbers that are not
familiar. Now this is the great thing about music of this era. Much of it was
used on television programmes in the 1950s and 1960s. The old 'light' programme
featured a vast amount of this kind of music before they discovered 'pop.' Many
of us in the UK of a certain age remember 'Friday Night is Music Night,' still
going strong on Radio 2. Even as a child this programme was often 'on' at my
grandmother's house. From being knee high to a grasshopper all this music was
slowly sinking into my mind.
There is no need to discuss all these evocative works. I intend to select a few
highlights. Note that the music is played by orchestras whose leaders were often
composers or arrangers in their own right. They are all here on this disc -
David Rose, Edmundo Ros, Mantovani, Billy Cotton, Frank Chacksfield and Stanley
Black, to mention just a few.
I notice that there is a nice balance between 'tone poems' and arrangements and
impressions. Beginning with the former, Charles Williams is at home both on the
conductor's rostrum and at the composer's desk. His Heart-O-London is a classic
example of the 'Capital' genre, which can be added to those of Haydn Wood and
Eric Coates. This work was commissioned around the time of the Coronation of Her
Majesty Queen Elizabeth II and has echoes of Big Ben and the ubiquitous street
cry, Cherry Ripe.
Whilst on the 'big city' theme I must mention Cyril Watters' fabulous Piccadilly
Spree. This is a fine example of how light music requires superb craftsmanship
to give its best effect. This is a 'great' piece that fairly bustles along. It
perfectly describes the mood of the place. It makes you feel great to be alive -
and happy and proud to be living and working in London!
Moving swiftly on to Spain ... We have a fine version of Augustin Lara's great
song 'Granada.' The Monty Kelly Orchestra brings some of the magic of
Chacksfield's moonlight and sunshine moods to a well-known tune.
Paris is always close to the heart of composers and Edward White's Paris
Interlude is as good as it gets. Of course he is best known for his Runaway
Rocking Horse and Puffin' Billy. The present piece is an attractive work that
gives an impression of gay Paris in the aftermath of the war. It was composed in
1952.
One of the highlights is Richard Addinsell's Festival. This is played by
Mantovani and his Orchestra. It is one of those pieces that I have always wanted
to hear. I knew that he wrote this work - presumably for the Festival of
Britain, yet I never managed to catch up with it. Ever since listening to the
Warsaw Concerto, I have been an enthusiast for his music. We are lucky to have
recently enjoyed two discs from ASV and one from Chandos, so our knowledge of
this fine composer is getting more comprehensive. Festival is quite a big,
sweeping piece, that has the overtones of a film score about it, although it
really is a short 'overture,' with a lovely romantic tune.
There are a number of arrangements on this disc. David Rose and his Orchestra
give a contemporary arrangement of the Gershwins' Liza. Duke Ellington is
represented by a less than effective arrangement of Caravan by Philip Green.
Like the volume of music from the 1940s, there is a film medley, 'Parade of the
Film Hits.' This has tunes as diverse as Broadway Melody, Laura, Wedding of the
Painted Doll and Over the Rainbow. Richard Rodgers is represented by an
attractive version of Blue Moon.
Proud Canvas by Robert Farnon has little to do with an artist's studio, but
everything to do with the sea. Of course, Farnon would go on to compose the
music for 'Captain Horatio Hornblower' (starring Gregory Peck and Virgina Mayo).
This present work was often used as a background to any film or programme that
need 'seascape' music. It has a distinctly nautical feel about it that has often
been copied but never bettered.
There are a few 'dance numbers' on this disc - all of them attractive. Ray
Martin does us proud with his Dancing Bells; one of those little tunes that
seems to be so well known. Of course, another big hit by this composer was the
ubiquitous Marching Strings - better known as the theme to Top of the Form.
However this was written using one of his pseudonyms, Marshall Ross. The
recording of Joe Heyne's Petite Waltz is perhaps the least well recorded of the
entire disc. However, it is played by the redoubtable Billy Cotton and his Band
so it is well worth preserving even if the sound quality is not at its best.
This is another well known tune by a lesser known composer and with a little
known title. Sydney Torch's attractive Flirtation Waltz and David Rose's
wonderful Waltz of the Bubbles completes this review of 'dance' music.
My final selection from this album is Robert Busby's great tune Sportsmaster.
This is a excellent, catchy march that was used as the music for a cigarette
advert back in the ’fifties when we were allowed to smoke! I also wonder if it
was used as theme music to a sports programme television. (Readers, please
advise!)
Altogether a fine album of attractive, evocative and nostalgic music. But never
let these adjectives get in the way of the fact that this is good, well
constructed, beautifully orchestrated and well balanced music. Just because
there is a good tune and a bit of a swing does not invalidate its claim to be
great music. Light music is an art of its own and thankfully listeners realise
that this legacy is of value and worthy of preservation and propagation. Well
done Guild! Let's hope that there are a few more albums like this 'on the
stocks.'
John France
THE GOLDEN AGE OF LIGHT MUSIC - The 1950s
Liza (I & G GERSHWIN,
KAHN) – David Rose & His Orchestra
Caravan (ELLINGTON) – Philip Green & His
Orchestra
Marching Strings (ROSS) – Edmundo Ros &
His Orchestra
Fandango (PERKINS,
BRADFORD) – Hugo Winterhalter & His
Orchestra
Heart-O-London (WILLIAMS) – Charles
Williams & His Concert Orchestra
Hey Presto! (WILSON, arr.
DUNCAN) – New Concert Orchestra/Frederic
Curzon
The Melody Maker (GAY) – Roberto Inglez &
His Orchestra
Proud Canvas (FARNON) – Queen’s Hall
Light Orchestra/Robert Farnon
Festival (ADDINSELL) – Mantovani & His
Orchestra
Blue Moon (RODGERS,
HART) – Paul Weston & His Orchestra
Dancing Bells (MARTIN) – Grosvenor
Concert Orchestra/Peder Van Zuider
Granada (LARA) – Monty Kelly & His
Orchestra
Petite Waltz (HEYNE) – Billy Cotton & His
Band
Shortcake Walk (TORCH) – Sidney Torch &
His Orchestra
Flirtation Waltz (HEYWOOD) – Frank
Chacksfield & His Orchestra
Angel Cake (MORLEY) – Dolf Van Der Linden
& His Orchestra
Waltz Of The Bubbles (ROSE) – David Rose
& His Orchestra
Sportsmaster (BUSBY) – Danish State Radio
Orchestra/Robert Farnon
Paris Interlude (WHITE) – Music By
Camarata
At Last, At Last (TRENET) – Ray Martin &
His Orchestra
Roller Coaster (BUSCH,
DELUGG) – Henri Rene & His Orchestra
The Moon Was Yellow (AHLERT) Stanley
Black, His Piano & His Orchestra
Piccadilly Spree (WATTERS) – New Concert
Orchestra/R. De Porten
Champagne March (HENMAN) – Queen’s Hall
Light Orchestra/Robert Farnon
Jungle Fantasy (Esy
MORALES) – Percy Faith & His Orchestra
Parade of the Film Hits – Broadway Melody, Laura, Wedding Of The Painted
Doll, Please, Over The Rainbow, A Fine Romance, Be My Love, La Ronde, The
Trolley Song – Melachrino Orchestra/George Melachrino
Recorded c.1950-53
GUILD
GLCD 5103 [77.52]
This is the third of Guild’s Light Music series to come my way and finds the
genre in still rude health, just before the advent of the LP in Britain – most
of these pieces were issued on 78 and have been expertly transferred with good
notes from David Ades. The mix is pretty much as before with the composers and
arrangers spreading their compositional wings widely to accommodate American
popular music, film, a slice of Spanishry and the spry Marches that still had
some constituency in post-War Britain. David Rose proves himself a master of the
medium of course but Philip Green’s take on Ellington’s Caravan doesn’t
win any prizes for subtlety. Marshall Ross’s Marching Song (Marshall Ross
was actually conductor Ray Martin under a pseudonym – a fairly common practice
at the time) will be best known in the UK as the signature tune to Top of the
Form. But what you may not know is the middle section, a kind of jazzy
trio, which adds a contemporary gloss on the up-tempo March. His Dancing
Bells is spruce and perky but just a bit too twee. Charles Williams was
always one of the most successful composers and his Heart-O-London throws
in Cherry Ripe for good measure along with some bells. Colouristic
devices were always in vogue for the arranger and orchestrators – witness the
prominent xylophone in Granada or the solo piano in Joe Heyne’s Petite
Waltz as played by Billy Cotton and his Band. But Sidney Torch is made of
sterner stuff in Shortcake Walk where we find Ragtime, blue grass, fiddle
and banjo and hoe-downery in one compact song – Torch always flirted with the
genre and he’s on fine form as is his band. Dolf van der Linden – the Dutchman
who recorded for Paxton on 78s – turns his hand to some David Rose-style
pizzicati in Angel Cake and Edward White mines Gershwin for Paris
Interlude (post-War austerity Britain clearly looked on with admiration at
things Parisian as other songs in this series have shown; Sidney Torch’s
Wagon Lit in the 1940s volume is probably the acme of yearning for starched
sheets, wooden cubicles and fast untroubled transport).
One of the pleasant features of these discs is to look at the record companies
producing this kind of music – publishing houses or film producers and the like,
alongside the well-established commercial concerns. So alongside Parlophone,
Decca and HMV we have Chappell, Polygon, Paxton, Essex, MGM and Boosey & Hawkes.
There was a place for such music then and there is still now – any more, Guild?
Jonathan Woolf
Page revised 16.12.04