A very nifty, lively, jazzy modernist piece written by Constant Lambert (The Who manager Kit Lambert’s dad) in 1927. Australian virtuoso Eileen Joyce, who famously played the heart-wrenching Rachmaninoff in the film Brief Encounter, is at the piano here. County Antrim-born Jean Allister, contralto soloist, joins her with the BBC Symphony Orchestra and the BBC Chorus. At the podium is Sir Malcolm Sargent.
Composer-novelist Anthony Burgess, in his autobiography Little Wilson and Big God (Burgess’s given name was John Anthony Burgess Wilson) wrote, “Lambert, who admired Duke Ellington and proclaimed his harmonic roots in Frederick Delius (who in his turn had taken them from Debussy), was a fearless reconciler of what the academies and Tin Pan Alley alike presumed to be eternally opposed. I was present at that first performance, and so was my father. And, in 1972, on a plane from New York to Toronto, I found myself sitting next to Duke Ellington, who spoke almost with tears of the stature of Lambert, admitted that he had learned much from both Delius and Debussy, and expressed scorn for the old musical division, which had been almost as vicious as a colour bar. He had lived to see it dissolve and jazz become a legitimate item in the academic curricula.” [More Burgess on Lambert here.]
First on CBS (Carol’s network) 12 November 1963, now available in its entirety on YouTube here. Saw this when I was eight—and note the date: This was 10 days before President Kennedy was assassinated. Some bleak Thanksgiving weekend was to follow.
Carol duos “Secret Love” with big handsome Art Lund starting at 1:22:30. Lund had a swoony hit a few years earlier with Leroy Anderson’s “Serenata” (which I heard in my bassinette and still adore); and people forget Carol Burnett started as a legit Broadway singer with an invigorating presence and great legs. A surprising amount of sexual energy makes it to the small screen here.
Webster and Fain rearranged the music from the Doris Day MGM musical for this stage version and a new book was brought in by TV writer Paul Shuken, so it sounds nothing like the film version which—of course, my bonny John Wilson being involved—gave the Proms its version.
Why yes, I am a Crazy Ex-Girlfriend fan, and thank you for asking.
Season 1, epsiode 18, 2016. Lea Salonga, as heroine Rebecca Bunch’s object of romantic desire Josh Chan’s singing-star aunt, sings a lovely but so over the top Disney Princess Song. This is before all hell breaks loose in seasons 2 and 3.
Between 2000 and 2005 John recorded 8 albums for the venerable jazz/swing/dance band label Vocalion. Whereas four months ago I had none, I now have 6 of them. I have that awful Orchestral Jazz he did with Richard Rodney Bennett; his 2 albums of Angela Morley’s work; his Paul Weston and his Geraldo (see “Geraldo Among the Filipinos, 1963” below); and I just ordered Dance Date.
There are two more albums I haven’t gotten yet: One is with a pleasant but unimaginative crooner named Gary Williams (who I suspect was the guy who enabled John to increase the size of his orchestra—”He just turned up one day at my door with a pot of money and said, ‘Will you put together a great big orchestra for me to sing to?’ And that was the start of it,” said my blinky winsome John in a 2011 interview—and somebody, bear me out on this story) but it doesn’t sound interesting enough to drop fifteen bucks on.
But this one, Lessons In Love, sounds perfectly gorgeous, the little I heard—it’s classic Songbook stuff—and I’m dying to have it. It’s Lance Ellington’s strong clear vocals and fundamental John Wilson Orchestra through and through. Trouble is, it apparently went through a limited pressing so available copies run from 115 American bucks upward. How can a record only 13 years old be a collector’s item already???
Lance Ellington is the son of English bandleader/singer Ray Ellington, who I know only as that weird singer on The Goon Show who mangled my favorite Charles Trenet song, “Boum”, even though I yelled at him not to do it through my computer screen. Lance is great, though. He teamed up with John and Orchestra for their 2014 Cole Porter album doing the song “Now You Has Jazz” and that album won the Echo Klassik Music Without Borders Prize.
Castles were crumbling
And daydreams were tumbling
December was battling with June
But on this bright afternoon
Guess I’ll be changing my tune
We can thank composer/arranger Kay Swift, George Gershwin’s secret lover, for making sure this song found its perfect setting in this 1947 20th Century Fox musical after his untimely death ten years earlier.
John, if you were going to choose one song from the film The Shocking Miss Pilgrim for your Gershwin in Hollywood album, what made you choose that boring Dick Haymes-led duet “For You, for Me, for Evermore” rather than the much more melodic and clever “Changing My Tune”?
Je l’ai cherchée partout j’ai fait le tour du monde
De Venise à Java de Manille à Angkor
De Jeanne à Victoria de Vénus en Joconde
Je ne l’ai pas trouvée et je la cherche encore
Je ne connais rien de lui et pourtant je le vois
J’ai inventé son nom j’ai entendu sa voix
J’ai dessiné son corps et j’ai peint son visage
Son portrait et l’amour ne font plus qu’une image
Cleansing my aural memory of John Wilson’s recording of Legrand’s “Chanson de Maxence” (in English clumsily rendered as “You Must Believe in Spring” or some such) in his awful 2000 album, Orchestral Jazz, with Anne Sofie van Otter‘s version. Bonny John conducts his eponymous orchestra in an arrangement by Richard Rodney Bennett, who had absolutely no feel for this song. With such a strong melody (reminiscent of Fauré) and strong lyrics, all it needs is a strong emotive singer and a backup piano. I note with some distress John himself did some other arrangements in this album, particularly for “Miss Otis Regrets”. With no lyrics! What the hell good is such a hilarious song without the words???
John and the JWO are okay, but just okay. I suppose when he was 28 my bonny’s loftiest ambition was to be the next Sidney Torch.
This nine-minute medley sung by Julie Andrews and Carol Burnett, called “History of Musical Comedy”, is a variety-show tour de force enough for the first six minutes; then at 6:00 it rises to high art in the most affecting soprano duet in the repertoire of American lyric theater.