The indication “burlesque strip style” was actually written on the music right around 4:00. Both Ramin and Ginzler cut their teeth writing swing arrangements; lead trumpet in the original Gypsy pit was Dick Perry, late of the Tommy Dorsey Orchestra. Solo trumpet Mike Lovatt here lays it down fine. Some people obviously know something about burlycue. Composer Jule Styne was pleased with this orchestration. Once again, the BBC Proms program The Broadway Sound, 2012.
Also at 4:00John Wilson shimmying like a brazen hussy. This is the moment one year ago today when I fell in love with you, my bonny, that lovely luscious moment when I stumbled onto that clip above of you at the Royal Albert and got your number…
Brazen hussy shimmy alert at 6:26. Whoever would stifle that shimmy in years to come, my bonny, would stifle your spirit.
Excerpts by composer and band: “Skyliner” – Barnet / Charlie Barnet; “Take the A Train” – Billy Strayhorn and vocalist Joya Sherrill / Duke Ellington; “Let’s Dance” – Gregory Stone (based on von Weber’s “Invitation to the Dance”, orchestrated by Hector Berlioz) / Benny Goodman; “I’ve Got My Love to Keep Me Warm” – Irving Berlin / Ray Noble; “Begin the Beguine” – Cole Porter / Artie Shaw; “I’m Getting Sentimental Over You” – Ned Washington and George Bassman / Tommy Dorsey; “Midnight Sun” – Hampton and Sonny Burke / Lionel Hampton; “You Made Me Love You” – Monaco and McCarthy / Harry James; “Moonlight Serenade” – Miller / Glenn Miller; “Peanut Vendor” – Moisés Simons / Stan Kenton; “Woodchoppers Ball” – Joe Bishop / Woody Herman; “One O’Clock Jump” – Count Basie / Count Basie. Orchestral arrangement by composer Andrew Cottee.
For their show at the 2011 BBC Proms, inconveniently titled Hooray for Hollywood, John and The JWO perform here an overall satisfying medley of tunes from the pictures, tunes selected, arranged and orchestrated by my self-satisfied darling himself. Starting with John’s cribbing from Ray Heindorf’s execrable arrangement (that hard downbeat!) of the Gershwin brothers’ 1919 “Swanee” (Jolson turning in his grave), it does get better: “Lullaby of Broadway” by Al Dubin and Harry Warren, very nifty and swingy; Rudy Friml and Herb Stothart’s 1924 “Indian Love Call”, a lot more lyrical and moving (he included the birds and the waterfall!) than you remember it (especially when leader Andrew Haveron takes the soulful melody); Jerry Kern and Yip Harburg’s glorious 1944 “Can’t Help Singing” (written for Deanna Durbin); Kern and Ira Gershwin’s 1944 “Long Ago and Far Away” (Howard McGill on tenor sax and Matthew Regan on piano—I’ve never heard it played any lovelier): Frank Loesser’s 1950 “Guys and Dolls” done in Big Swing style; then, in a weird leap, “Chim-Chim-Cheree” by the Sherman brothers 1963 (for which our John cribs 2 bars from Shostakovich’s Jazz Waltz No. 2); and ending with “Hooray for Hollywood” from 1937 by Richard Whiting (who wrote “On the Good Ship Lollipop”) and Johnny Mercer.
Hooray for Hollywood,
Where you’re terrific if you’re even good
Where anyone at all from Shirley Temple to Aimee Semple
Is equally understood
Go out and try your luck, you might be Donald Duck
Hooray for Hollywood
(Dates are of composition, not the date of the movie.)
Rating this clip, I’d say because it contains John’s own actually-pretty-good arrangement it’s one of the better clips of The JWO (although I would’ve swapped the timpani for a little chord coloring at the beginning of the “Swanee” melody). He seems to have nailed down the Andre Previn sound in his strings, which is just fine by me. Plus extra points for 7:40, where my self-satisfied darling shimmies like a brazen hussy yet again.
Patrick: This is Irina, the performance artist from Praha.
Maureen: Yes, I think we know where she comes from. Does she normally wear that?
Irina: I wear very little. There is a saying in my country, “Music is like the body. The more it is exposed, the more it can arouse.” Another expression we have in Czech, “Music is like sex—if we do not have it, WE DIE!!!”
Maureen: (alarmed) Sex. She said sex!
Irina: My music is like my sex. It come from the dark inside of my wooomb of my sex! Yearning to receive the seed of the dark black innards of my inward being… Dark, black, and hot, they copulate in the tone of the music of the fire that meets and heats, and in the heat is born the sacred coming of the sex of my body, is sex and my body is music, on and in, and in and on, my body is the sex of my heat, and my music, my heat, my body is on…
Irina: Of course. Always. Or as we say in my country, “[something-something-something-sex in Czech]”… Now I tune and prepare. (plays violin, orgasming loudly to music)
Maureen: Well, that was quite unusual.
Irina: (panting) Thank you.
Patrick: Um, did you actually achieve…?
Irina: (more panting) Orgasm? Of course.
Maureen: So, any other questions you’d like to ask, Patrick…? Any tips? Sorry, the producer’s flashing me. (in headset) Yup! Sorry? Yes yes, I know, well, he’s had her on, it wasn’t my idea…
Patrick: I did not get her on! I was under the impression we agreed we needed an example of the solo fiddle…
Maureen: Yes yes, you would like a fiddle wouldn’t you? (in headset) Yes, yes, all right. (hangs up headset) I’m afraid this is the BBC and we can’t have people having orgasms on it. Can we, Patrick?
Patrick: (deflated) No, no, I’m afraid not.
Maureen: (to Irina) So please leave. Now our next guest…