5 comments about Oh Captain! (1958 Original Broadway Cast).

1. One of the greatest, forgotten Broadway scores ever. Wishing and hoping for someone to discover Oh Captain! and stage a revival.



2. What keeps a fluffy musical comedy from being a success? Despite favorable reviews, "Oh Captain!" played only 191 performances, and could not survive a cast change, replacing Abbe Lane with Dorothy Lamour.
   Perhaps it was the anti-hero, a lecherous sea captain with a wife in England and a paramour in Paris. Very few shows with unfavorable main characters have survived--witness "Bravo Giovanni," "Do I Hear a Waltz," "What Makes Sammy Run?" Even "Pal Joey," with its numerous revivals, but never a long run.
   Could it be the music? Livingston and Evans seemed to rely on one recurring number, "Life Does a Man a Favor," to carry the show. That worked for "Seventy-Six Trombones" in "Music Man;" but not here.
   Or maybe the competiton. How could this piece of fluff stand up against "West Side Story," "Music Man," and "Damn Yankees"?
   About the recording:
   It is too bad that competing record labels prevented a true "original cast" album. Apparently, Abbe Lane made the show; but she was not permitted on the recording, because of contractual agreements.
   Jacquelyn McKeever was a talented, beautiful artist, who never reached the star status she deserved. And this role really did not fit her persona.
   Tony Randall will never be classified as a great singer. But, he does sing on pitch, which cannot be said about many stars. But again, the character of a roue is not what we would expect from him.



3. Not a great musical, indeed. It might be interesting to collectors of old musicals but not interesting for the common people. The songs are quite conventional, forgetable and uninspired. I simply did not care much about it.



4. 1958 was a tough year at the Tony's. The Music Man won pretty much everything in the musical categories except best actress and best choreographer. Other runners up that year included West Side Story and New Girl in Town. So it may be logical that Oh Captain! faded into obscurity especially when Tony Randall (1920 - 2004) left the show after 192 performances. Logical, but quite a loss.
   
   Oh Captain! is a musical version of the 1953 Alec Guinness film, "The Captain's Paradise." It's a workable plot. Captain Henry St. James has three paradises: his ship, his wife in Surrey, and his mistress in Paris. When his wife and mistress discover each other, they both leave him. Full of remorse, he gives his ship to his first mate and mistress, and his forgiving wife returns. This is, after all, the Eisenhower era.
   
   Admittedly, the lyrics and rhymes are unsophisticated by Broadway standards. The first two lines of the first song set a relatively low standard for the rest of the show: "This is a very proper town it is. / One of the jewels of the crown it is."
   
   There are some embarrassing struggles for rhyme: "We gave the world our tweet and the Churchill victory sign / The Jaguar, and the crumpet, and the Scotch of Ballantine." Ouch.
   
   However, there are some successes:
   "I'll visit churches, L'Opera Comique / I'll go on searches for things unique" or
   "How can I enjoy the city if I wander on my own / Say, you're might pretty and you seem to be alone," or
   "There's a word for you, you tainted saint / But as a lady of restraint / I can't tell you what that certain word is." or
   "When you want a raise and you need the dough / And the boss looks up and he hollers, `No'! / When you tell him where to go, / Give it all you've got."
   
   But the music is wonderful. Yes, Jay Livingston (1915 - 2001) is the same man who wrote "Buttons and Bows," "Que Sera Sera," "Mona Lisa," and - good grief - "Tammy," but he rises far above Hollywood for this show. There are light atmospheric numbers ("Surprise," "The Morning Music of Montmartre"), terrific comic numbers ("Femininity," "Give It All You've Got"), and rousing chorus songs ("Captain Henry St. James," "Life Does a Man a Favor When It Leads Him Down to the Sea"). But the ballads ("It's Never Quite the Same," "You Don't Know Him," "You're So Right for Me," "All the Time") absolutely soar.
   
   (Interestingly, "Life Does a Man a Favor" is repeated, not reprised, twice in the show with different lyrics and also serves as the finale. The opening of "Three Paradises" returns in the second act as "All the Time." )
   
   The cast is terrific. The Internet Movie Database quotes Tony Randall as saying, "I have a nice healthy tone, but it's not terribly musical. If beautiful voices are golden, mine is aluminum." What he may lack in tone he more than makes up for in these songs with the character and inflection of the smug captain. Jacquelyn McKeever (1934 -) was only 24 when she played the middle-aged Maud and has a lovely voice. Susan Johnson (1927 - 2003) belts "Give It All You Got" out of the park. Edward Platt (1916 -1974), yes the Chief in "Get Smart," actually trained for opera and was a vocalist with Paul Whiteman in the late `30's and early `40's. His is a great voice for the world-weary first mate. Eileen Rodgers (1930 - 2003) records Bobo and her earthy voice is perfect for the earthy role. Platt and Rodgers have a duet - what a pair of voices!
   
   I saw this show when I was [...] and of course I don't remember it. But the family had the Columbia Original Broadway Cast album (mono only), and I've been humming these tunes in the shower every week now for almost 50 years. You will do the same.
   
   Thank DRG for re-releasing this recording - and in stereo. But remember this is 1958 stereo: strings are fully left, brass is fully right, woodwinds and vocals are dead center. Otherwise, the remastering is a great success - it sounds as good as any current recording.
   
   Now if only Jerry Zak ("Guys and Dolls") or Kathleen Marshall ("Pajama Game") would revive the show.



5. OH CAPTAIN! was a 192-performance failure in 1958 starring Tony Randall. The score by songwriters Jay Livingston and Ray Evans is tuneful while never demandingly memorable. The standout track is the lovely Act II opening "The Morning Music of Montmartre" sung caressingly by Susan Johnson.
   
   Abbe Lane, then under contract to RCA Victor recorded her two solos as a single for that label. Columbia used Eileen Rogers as a fill in and she sounds just fine. (It would have been nice if DRG had included Lane's singles as bonus tracks but their agreement with SONY precludes adding any additional material to these releases.)
   
   In the cast is an actor named Edward Platt. TV fans will know him as Maxwell Smart's long-suffering chief on the 60's sitcom GET SMART.
   
   Columbia originally taped this album in mono and stereo. As was common at the time, the mono release came first but when the show folded after 8 months, the label elected not to release the stereo version on Lp (there was a 4-strack tape release.) It was not until 1977 when Columbia Special Products reissued the album that the stereo version was finally made available for record collectors. That Lp stayed around through the end of the vinyl era but now the score is available on CD (with the original LP synopsis by George B. Dale reprinted inside.)
   
   While OH CAPTAIN may not be an essential cast album, at a $9.98 list price it makes for an affordable and enjoyable addition to any Broadway fan's collection of original cast discs.

5 comments about Lost In The Stars (1949 Original Broadway Cast).

1. Normally, I do not care much for Kurt Weill's music. But "Lost in the Stars" is an exception. Billed as a "musical tragedy," the play did not attract audience enthusiasm, and closed after only 28 performances. A 1972 revival fared little better, with only 39.
   I have never seen the show, and I have not read "Cry, the Beloved Country." But I find the story line clearly delivered through the music, even to someone who lacks familiarity. Maxwell Anderson has crafted a series of lyrics that move the listener through the narrative. Weill's music draws out the intensity of emotion the characters must have been feeling.
   Perhaps now, with racial understandings somewhat better, a revival would elicit the popularity this score deserves. Until then, this original cast recording must suffice, and does so very well.



2. `Lost in the Stars' and `Johnny Johnson' are two Broadway shows scored by Kurt Weill in collaboration with Maxwell Anderson and Paul Green respectively for the librettos, both in English. Both are distinguished works and both were, I believe, fairly popular when they were first performed. What these two works have in common is that they are both works aimed at our social conscience.
   
   `Johnny Johnson' is a mildly anti-war play dealing with America's entering the First World War, written in the mid 1930s, when Germany was already uncomfortable for Jews, but not yet on the brink of precipitating World War II. What is most interesting to me about the libretto is the reluctance of the principle character, Johnny, to enlist in the army, while his fiancée (contrary to many famous antiwar works of the past), is all in favor of his enlisting and threatens to break their engagement if he does not enlist. As a work of art, I believe the work is more interesting as a milepost in American antiwar sentiments than as an important artistic work for either the composer or the lyricist. To my ear, there is not a single song from this work that finds its way into the repertoire of balladeers. This is from a composer who has given us `September Song', `Speak Low', `Lost in the Stars', `Saga of Jenny', and `Lonely House', not to mention all the great songs from his German works such as `Mack the Knife' and `Pirate Jenny'. On top of this, there is my feeling that much of the instrumental music sounds very similar to earlier German works, especially `Mahagonny'.
   
   `Lost in the Stars' is based on Alan Paton's novel, `Cry, the Beloved Country' and was written after World War II, in 1948-1949, and has much of the musical interest of what is missing from `Johnny Johnson'. Throughout the play, the instrumental music is much less similar to earlier Weill works and all songs seem stronger. At least two of these songs, `Lost in the Stars', `Trouble Man' and `Stay Well' are often performed by Lotte Lenya and other vocalists. While it may be pushing it a bit, this work seems almost as strong as Gershwin's `Porgy and Bess'.
   
   I bought both because I am a big fan of Kurt Weill's music, and I would recommend both recordings to any and all Weill enthusiasts, especially as both have extensive notes and complete librettos. But, to the person mostly interested in Broadway in general, I would recommend only `Lost in the Stars'.
   
   I will say that the performances of both vocalists and orchestra are excellent on both; however the vocalists on `Lost in the Stars' seem to give just a little extra, possibly because their material is just a bit more substantial.



3. It is so easy to get some of these songs in your head...I love this soundtrack..



4. With great hope in the powerful amazon.com's Jeff Bezos, the person of the year by Time magazine, we wish you can urge someone to put this title back into circulation! I have sung the piece "Lost in the Stars" and was drawn by the wonderful music and intriguing lyrics. Is there a way to locate the music score of the soundtrack?



5. After 50 years the little snippet heard on this site brings back the original emotions.I would love to purchase this recording in any format. The original performance, a life-changing event for me as a young girl, is recaptured.

5 comments about Rent (Highlights from the Original 2005 Motion Picture Soundtrack).

1. This is the perfect CD for those who love the music from the film, or even the Broadway show. I just bought this CD because I am new to "RENT". I first saw the movie 2 weeks ago and I am completely hooked!! I am also addicted to this CD, I listen to it atleast once a day (if not more)!! This is perfect for any "RENT" fans out there!!
   
   ~*LaUrA*~



2. I loved Rent, but I just couldn't bring myself to spend the money for the full version of the soundtrack. Highlights from Rent was PERFECT! It has all the main songs from the movie I was looking for, and that was important to me. I play this soundtrack constantly, from beginning to end, singing along the whole way. Every song on her deserves to be on here - it's amazing.



3. I got Rent the CD for my birthday, and I looked and I thought it did not have my favorite song on there:No Day But Today well I was exploring the Rent website, and I found out that it was NOT called No Day But Today, it was called Finale B I was so happy and I listen to it over and over and over and over again without me getting sick of it! Great CD totally recommended ALL THE WAY!!!!!!!!!!!!!!!!!!
   
   The Best Songs On The CD Are:
   
   *********Finale B*************(The Best)
   Seasons Of Love
   Light My Candle
   Tango:Maureen
   Out Tonight
   One Song Glory
   La Vie Boheme



4. This is truly a highlights cd, with the only dissapointment, to me, being that the song "Another Day," is not included. But the rest of my favorites Without You, Rent, Tango Maureen, and, of course, La Vie Boheme, make this a great cd for any Broadway lover.



5. An original "Rent Head", I saw this movie at the cinemas and was less than impressed with the finished product. I found that on watching the DVD I have since completely changed my opinion. The CD is fantabubulous - I love IT!. It is all the wonderful music from the movie and if I gush anymore it will come across as very very ridiculous! Just buy it - its great!
   
   It is an absolute must for anybody who fell in love with the musical!

5 comments about 70: A Seventieth Birthday Celebration.

1. Rosemary Clooney is one of the few singers I can think of who sounded better as she got older. A nice bonus is the backup of saxophonist Scott Hamilton on some of the tracks. He's great as well.



2. Concord gives us samplings from our "Girl Singer", wetting our appetite for more of the same ~ 19 tunes spanning this legendary artist from her various albums ~ songbook collections, dedication and show tunes ~ showcasing composers such as Arlen, Gershwin, Hammerstein, Kern, Mercer, Porter, Rodgers, James Taylor, just to name a few.

   It is difficult to select stand outs or highlights from this CD, but I'll try ~ "COME RAIN OR COME SHINE", "ONE FOR MY BABY", "JUST ONE OF THOSE THINGS", "HEY THERE", "LONG AGO AND FAR AWAY", "FROM THIS MOMENT ON" and "OUR LOVE IS HERE TO STAY" ~ but must make mention of the touching arrangement for "OL' MAN RIVER" from the musical "Showboat", Rosie's interpretation and voice is so pure, you want it to go on and on, this is what makes her so special.

   Hats off to ~ Allen J. Sviridoff (compilation producers) ~ Glen Barros & John Burk (executive producers) ~ and Concord Jazz for serving up such a wonderful birthday menu ~ and a special thanks to the person who invited us to her seventieth celebration, may she have many, many more ~ ROSEMARY CLOONEY!

   Total Time: 70:33 on 19 Tracks ~ Concord Jazz CCD-4804-2 ~ (1998)




3. I have bought 5 copies of this great CD for friends and we all love it! It brings back memories of the good old days of understandable lyrics and melodies. Thanks Rosie!



4. I have bought 5 copies of this great CD for friends and we all love it! It brings back memories of the good old days of understandable lyrics and melodies. Thanks Rosie!



5. The problem that I have with this CD is that it appears to have been over-produced and over-arranged. Poor Rosie sounds as though she was singing from somewhere outside the room. She is absolutely smothered. Too bad, because this lady is a great performer and always delivers, but she just had too much competition this time.

5 comments about Dreamgirls.

1. I have to admit, this soundtrack is far superior to the movie's. The only reason why I am not giving this 5 stars is because the only person in the movie who outshines his original counterpart on THIS CD is Eddie Murphy. He outdoes Cleavant Derricks by far as the character "Jimmy Early." But everybody else in the original cast sings with so much more vigor, energy, emotion, etc. The movie cast sounds way too pop, way too produced, too soft. I did not grow up listening to this musical, seeing as how I saw the movie before buying the original soundtrack, but for the first time, I like the original better (except for Eddie Murphy. Eddie is AWESOME and WILD).
   
   Another reason why this doesn't quite get 5 stars is because this soundtrack is missing quite a few songs that were in the original play but not on here:
   
   "I'm Looking For Something" (in the movie)
   "Goin' Downtown" (which is in the movie)
   "Takin' The Long Way Home" (in the movie)
   "Party Party" (not in the movie nor the movie soundtrack. This is song where Lorrell begins her affair with Jimmy)
   "I Want you Baby" (in the movie)
   "Heavy" (in the movie)
   "Love Love Me Baby" (in the movie)
   "One More Picture Please" (not in the movie nor the movie soundtrack. Deena tells Curtis she wants to be come an actress. This particular subplot is portrayed in the film.)
   "Got to Be Good Times" (not in the movie nor the movie soundtrack. This is sung by "The Five Tuxedos" right before Jimmy Early goes onstage to do his performance of "I Meant You No Harm" and then "The Rap." "Got To Be Good Times" has been replaced with "Perfect World," which is sung by a Jackson 5 imitation group in the movie).
   
   So, if you want to experience this musical in it's entirety, you are probably going to have to find a bootleg recording or see it off-broadway or something. I know this soundtrack has an extra 3 songs that they didn't include before, but what about the leftover 9?
   
   Oh well, I'm sure in about a decade we'll be able to finally listen to the COMPLETE musical, but in the meantime, if you want to experience as much as you can, see the movie, then buy both soundtracks. The movie soundtrack has somethings written that were never in the original play.



2. WHAT CAN YOU SAY? ABSOLUTELY PHENOMENAL AND IRREPLACEABLE! IF YOU LIKE THEATER, YOU MUST HAVE THIS!



3. IT IS GREAT TO HAVE IT REMIXED AND WITH SOME BONUS TRACKS AND KARAOKES AS WELL. WISH THE COULD DELIVER THE WHOLE SHOW IN TWO CDS OF THIS VERSION.



4. I was surprized and felt very lucky when I saw this special version. YOu get three bonus tracks in this package, and it brings back great memories. The broadway original cast is far superior to the movie cast. In this cd you get that whole 15 minutes during the I'm telling you sequence starting with Jimmy's riding in singing "Driving Down the Strip" all the way through the fight sequence of "it's all over" straight into "And I am Telling YOU". You also get the finale where Effie joins the Dreams to sing Dreamgirls, which was left off the original cast album. One thing that is a joy is to get to hear Lorretta Devine sing "Ain't No Party" which was cut from the movie( Lorrell has no solo in the movie). Unlike the concert version where you get the whole score and show, but other than Lilias White the whole show is miscast, the original cast is the best by far for knowing what the show should sound like. There is a bonus cd with click tracks for singing with certain numbers for the show and a bonus disco version of Jennifer Holiday singing "And I Am Telling You" which was tremedously popular.



5. the key in which the songs were in was not posted in the description. The quality of the tracks were great except for he fact that there was not possibility of selecting a higher or lower key for the songs.

5 comments about Ultra-Lounge: On the Rocks, Pt. 2.

1. Ultra-Lounge: On the Rocks, Pt. 2 is an excellent CD of hits from way back when that can still make the airwaves sizzle today! These tunes are great for mood music and some of them are good for dancing, too. The quality of the sound is excellent and the artwork is very, very nicely done. Great!
   
   The Johnny Mann Singers begin the track set with their hit entitled "Heart Full Of Soul." "Heart Full Of Soul" has that rockin' `60s lounge flavor to it--all wrapped up in one package! They sing and play this to perfection and I'm sure that you will enjoy this opening number very much especially if you like lounge music with vocals. David McCallum's "(I Can't Get No) Satisfaction" has a great beat that mirrors the hit by The Rolling Stones; and the brass is used very well in the musical arrangement. In addition, "Games People Play" from Mel Torme really works so well on many levels all at once. Mel Torme sings this so well there's no doubt as to why he was revered by fans and his peers alike.
   
   Buddy Morrow does great on his version of "Summer In The City" by The Lovin' Spoonful; the horn work is superb and the overall arrangement is really cool! I really like "Summer In The City;" it's easily a major highlight of this album. Guy Lombardo and His Orchestra do a very solid rendition of "Mrs. Robinson" from the movie called The Graduate with Dustin Hoffman; and listen for a great medley of "Wear Your Love Like Heaven/Workin' On A Groovy Thing" by David Rose and His Orchestra. David Rose was a very talented man and just one listen to this tune proves it amply! Julie London plays along as she delivers "Yummy, Yummy, Yummy" with panache--she was capable of singing ballads that were so much more substantial but I admire the way she plays the good sport and sings this one out proud anyway!
   
   There's a fine medley of "Baby Love/Respect;" "Baby Love/Respect" is performed with lots of feeling by Zacharias. Zacharias really knows their stuff and their talents work well to make the medley of "Baby Love/Respect" another highlight of this album. Mel Torme returns to perform a rousing rendition of "Happy Together;" "Happy Together" features Mel swinging brightly to make this number shine! Mel Torme really could sing just about anything and make it sound grand.
   
   The Hollyridge Strings do their medley of two Beatles tunes, "Can't Buy Me Love/Sgt. Pepper's Lonely Hearts Club Band;" this medley uses the brass and strings with the piano to make a terrific melody that is catchy as well. The CD closes nicely with Kurt Russell performing "Sugar Sugar;" this cover of the song by The Archies is excellent and I'm sure The Archies would be proud!
   
   Overall, Ultra-Lounge: On the Rocks, Pt. 2 is a great CD for lounge and mood music fans who like tunes that are either instrumental or with lyrics. I highly recommend this album for these people and newcomers to lounge and mood music will find this CD to be a great introduction.



2. Love this kind of music - can't get enough - have most all of the CDs. Excellent New Jersey-based company with excellent foresight and retro-understanding for the best party and jazz combos. Excellent choice for any kind of day or evening, party or relaxation time.



3. These recordings date from 1964 to 1972. During this time period, there were two kinds of "pop" music. There was the kind for teenagers, which featured the likes of the Beatles, the Beach Boys and the Ohio Express. And then there was pop music for the parents of teenagers, featuring the likes of Mel Torme, Peggy Lee and the Hollyridge Strings. This CD features teenage pop songs as performed by pop artists for the older folks. Boy, talk about a style clash! Can you imagine Peggy Lee singing "Everyday People", or Julie London singing "Yummy, Yummy, Yummy"? Well, you don't have to imagine it, you can get this CD and hear it for yourself. There are some strange renditions of songs that will be familiar to anyone who ever turned on an oldies radio station. Most of the songs are instumentals, although I wouldn't call it "elevator music", for the most part. Special mention to the Little Big Horns, who include sounds of an Indian attack in their version of "I Heard It Through the Grapevine" (Little Big Horn = Custer's Last Stand, get it?). Fans of "kitsch" should dig this CD.



4. I think they used up all the 'good' songs on the first On The Rocks compilation - this one seems to be scraping the bottom of the barrel a bit. Part 1 is highly recommended for lovers of things tacky, but Part 2 is a bit thin.



5. Just think of it: Kurt Russell as the Hillary Duff/Lindsay Lohan (take your pick in that contemporary turf war) of his generation. When Russell found himself in a series of successful movies for Disney he was quickly signed to a record deal where he covered bubblegum classics like Tommy Roe's "Dizzy" and The Archies' "Sugar Sugar," which is the final track on "Ultra-Lounge: On the Rocks, Part 2." Make no doubt about it, this is a collection of what would be considered "classic" kitsch 'n' roll (or rock 'n' kitsch if you like). You probably will never be able to get a CD version of Kurt Russell's self-titled debut album, or any of the other bizarre albums that attempted to make rock 'n' roll more palatable for the masses or were simply produced by people heavily into drugs (e.g., "Sebastian Cabot, Actor, Bob Dylan, Poet," "Jayne Mansfield: Shakespeare, Tchaikovsky & Me," Jack Webb's "Just the facts of life, ma'am," or Tony Perkins' "On a Rainy Afternoon"), but you can get this collection of misses and misses (and, to be fair, you can get Robert Mitchums' "Calypso is Like So...," Tony Perkins' self-titled album, and, of course, the mother-lode itself, William Shatner's "Transformed Man").
   
   Overall there are two types of songs included in these 23 tracks. First there are essentially instrumental distortions, er, versions of classic rock songs, such as "Carry That Weight" by Francis Lai. But be prepared for anything because this is an album where "I Can't Get No Satisfacation" begins with the opening notes played on a dulcimer. There is a touch of psuedo class here, with the Hollyridge Strings (NOT the "Hollywood" Strings mind you) doing a Beach Boys medley of "I Get Around/California Girls." Peter Duchin shows up to do "Superfly," which was a bit of a shock. Other instrumentals include "Summer in the City" by Buddy Morrow, "Mrs. Robinson" by Guy Lombardo, and my favorite of the bunch, Deep Purple's "Hush" by the Royale Blue. If you like sitar music you get a double dose, with Lord Sitar joining Sandler & Young for a Beatles medley of "Blue Jay Way/Blackbird" and then returning solo to do the Who's "I Can See for Miles." But expect lots of strings (e.g., the Hollyridge Strings with "Can't Buy Me Love/Sgt. Pepper's Lonely Hearts Club Band" and John Andrew Tartaglia's "Light My Fire") and horns (e.g., Little Big Horns' "I Heard It Through the Grapevine" and Henry Jerome's "Oh Pretty Woman").
   
   Then there are the songs were singers actually do some singing. These range from "chorale" type versions of songs, such as "Heart Full of Soul" by the Johnny Mann Singers, which opens up the album, to covers of familiar songs by familiar artists, like Mel Torme doing "The Games People Play" and "Happy Together," while Peggy Lee does Sly Stone's "Everyday People." Julie London does a really slow version of "Yummy Yummy Yummy," but that is really it for recognizable names. Then we jump to the other extreme and have the likes of Mrs. Miller doing Nancy Sinatra's "These Boots Are Made for Walkin'", the fun-loving senior who I would have given the final spot in the collection to, because after mangles that song (including her breathless "Yeah" at the end of the first chorus) there is no place to go and you might not actually being aware the Russell is doing "Sugar Sugar" until the silence afterwards pierces your consciousness. I have a definite preference for the songs with singers in terms of the kitsch quotient here because the instrumental tracks at least can be categorized as elevator muzak, which takes a star away from the rating because if a song on this album goes not make part of your groan in delight, it is just not doing its job.

1 comments about Party Tyme Karaoke: Show Tunes, Vol. 2.

1. I thought this would be more of a "sing along"...music with someone singing on one track and then just instrumental on another, so that one could learn the song first. Wrong! Too late to return. WR

1 comments about Gershwin Plays Gershwin.

1. This low priced CD is the greatest presentation of George Gershwin's incredible improvisational skill, reworking his popular hits of the day into complex arrangements that can hold the interest of the 'most discriminating music lover.' These disc recordings are much more lifelike than the well known piano-roll CDs. On this Cd Gershwin's filled-in tenth cords in his left hand along with his consecutive four-note chord spreads to the octave with his right, cross rhythms, and virtuoso embellishments give the piano arrangements a full sound. The recording of 'Swanee' is a small 1919 group recording of the Van Eps Quartet with a young George Gershwin at the piano and Nathan Glantz on the saxaphone. The Van Eps Quartet plays in a yiddish sounding style which accents Swanee's rooting in yiddish music. The next recordings are of George Gershwin at the piano recorded in 1926 and 1928. This CD also includes the 1924 Paul Whiteman orchestra recording of 'Rhapsody in Blue' with the composer at the piano. The arrangement was shortened to about 9 minutes in order to fit onto the two sides of a 78rmp record, but I think this is the best recording of 'Rhapsody in Blue' ever recorded, because this was recorded when 'Rhapsody in Blue' was New, Exciting, and Full of Life. This recording lets the humor that was originally intended by Gershwin shine through. His own recording of his three preludes is the best rendition of the popular preludes. Gershwin stands as the best performer of his own works, and this CD is the best example of his own playing. The improvisations of his show tunes on this CD are much more fleshed out than his brief radio recordings available elsewhere, although I recommend trying to find all of his recordings. Gershwin's solo piano arrangement of the Andante section of Rhapsody in Blue is another opportunity to hear George play his own material. The last recording on the disc is a 1931 rehersal of 'Second Rhapsody' which George Gershwin had recorded onto disc by NBC for him to listen to. Once again, George Gershwin is the best interpreter of his own works, and this CD is the best document of Gershwin playing Gershwin.

5 comments about Kismet (1991 Studio Cast).

1. This otherwise acceptable recording is ruined by Dom DeLuise who, in the role of the Wazir, is a joke. The part may be musically undemanding, as noted in the Amazon editorial review, but it does require singing, which DeLuise's weak voice cannot provide. The London Symphony, under Gemignani's direction, is quite good.
   I would recommend the original cast recording with Alfred Drake.



2. I have never been privileged to see Kismet on any stage. My only reference is from the unfortunate movie version. Ann Blyth and Howard Keel are okay, but no match for the original cast. But, Vic Damone? What was the casting office thinking? Happily, I have the excellent 1953 original cast recording with Alfred Drake, Richard Kiley, and Doretta Morrow.
   This 1988 recording presents a mixed bag, both in approach and in results. As an attempt to "opera-tize" the musical, it succeeds and it fails. Jerry Hadley and Julia Migenes both come across very well, but Samuel Ramey and Ruth Ann Swenson do not seem comfortable in the Broadway musical genre. Dom DeLuise and Mandy Patinkin both take it into the other direction of parody and wipe out the intent of serious music.
   If I owned only one recording of Kismet, I would certainly not want it to be this one. But this is an interesting study in contrasting approaches, with the original recording.



3. This is a beautiful rendering of this musical. Borodin's music was done a good justice by Robert Wright's arranging and inter-connecting of the tunes. The soloists and ensemble had a fine feel for the ebb and flow of the musical line, and the Ramey's, Svenson, and Hadley's singing was ravishing and Dom DeLouise was quite characterful as well. I bought the Original Cast recording at the same time I bought this. (I did so partly because I just love the music, but also because I wanted to have Richard Kiley's renderings. I first became acquainted and came to admire Richard Kiley's voice through The Man of La Mancha recordings, so I wanted to see what he did in this music. I highly recommend BOTH recordings and would not be able to pick one over the other - YOU must do that if you choose to purchase only one and I do not purpose to say anything here that would sway you one way or the other.



4. Having been in this show (as the Imam of the Mosque in an amateur production), I've long been in love with this music. I have heard various performers sing these songs, but rarely as well as they are presented here. The late Jerry Hadley as the Caliph is especially a joy to listen to. His clear, seemingly effortless voice is so well-suited to this role! And Samuel Ramey as the Poet is thrilling. Even Dom DeLuise, as the Wazir, was a lot of fun! A lot of people have said that he's not a strong enough singer for this show, but I don't think that particular role requires a strong singer, just a strong actor, which I feel Dom DeLuise definitely is. Having said all that, I was not as happy with Mandy Patinkin as the Marriage Arranger, on "Zubbediyah." I usually like his style, but here it was just a little too quirky. Overall, though, this cd is worth every penny!



5. This KISMET has its moments. Some of them will take your breath away, and others will make you cringe. Overall, it's a recording that you might want to include in your library, primarily because of the marvelous singing by Jerry Hadley.
   
   "Stranger in Paradise," sung by Hadley & Ruth Ann Swenson, is so ravishingly beautiful that it will bring tears to your eyes. That moment alone is worth the price of this album. Additionally, Hadley's "Night of My Nights" will absolutely give you goose bumps. In fact, I doubt if there has ever been a better sung "Caliph" anywhere. Listen to the way he pops off high A-flats & B-flats. Wow!
   
   Ruth Ann Swenson is a lovely "Marsinah," although she doesn't seem as comfortable in the role as either Doretta Morrow on the 1953 Original Cast recording or Lee Venora in the 1965 Lincoln Center Revival. Julia Migenes (Have you seen her CARMEN?) is in great voice as "Lalume," playing her more subtly than either Joan Diener or Anne Jeffreys. I prefer broad. Dom DeLuise is a wretched "Wazir" and sticks out like a sore thumb among the trained voices. But most wretched of all is Mandy Patinkin singing "Zubbediya," usually sung by the "Widow Yussef." What was producer Thomas Z. Shepard smoking?
   
   Of course, the overall success of any KISMET depends on the actor/singer who play "Hajj, the Poet," and let's face it, Alfred Drake owns the part. Samuel Ramey has the voice and the looks but, unfortunately, limited acting ability. He sings all the right notes, but appears more concerned with producing a gorgeous tone than with interpreting the song. His best moment is "The Olive Tree."
   
   Paul Gemignani leads the London Symphony Orchestra and the combined forces of the Ambrosian Singers and the Concert Chorale of New York, and how welcome they are in lieu of today's synthesized pit bands and scaled-back corps of singer/dancers. However, at times the shear mass of musicians tends to bog down the show.
   
   In spite of its flaws, this is still a valuable recording and deserves a place in your library along with the 1953 Broadway Cast and the Lincoln Center recording - if Sony/BMG ever gets around to remastering it.

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