If you remember viewing it first-run, as I did, you will recall that thrill of being in on the “joke”. And you will most definitely know that—as perfectly and wittily as it is tied to its time and place—this joke will never land ever, ever again.
A few notes on episode 1, season 3: This was filmed just before MI:OS, when G Morris was making the transition from LA disc jockey to actor. M Dillard was already a familiar face on television at this time. The episode was written by the great comedy team of B Persky and S Denoff, who went on to create the TV show That Girl.
Earle Hagen’s Dick Van Dyke and Lionel Newman(!)’s Dobie Gillis themes have got to be in my opinion the swingiest, finger-poppingest themes in the history of TV, topping even Mancini’s Peter Gunn, because of their superior melody lines. The version above is just okay, but I would looove to hear the snap and slide my beloved John Wilson would put into either of these short pieces like he did with his 2005 Grammy-nominated “Beyond the Sea”. Quel dommage, he’s on to finer things now, my bonny is.
By the way, I owe my interest in swing to London-based composer / Royal College alum (1991-93) / YT maven David Bruce—in particular his lecture on swing theory, which set my head back on straight. Thanks, David!
Excerpt: What happens when the music stops? Where does it go? What’s left? What sticks with people at the end of a performance? Is it a melody or a rhythm or a mood or an attitude? And how might that change their lives? To me this is the intimate, personal side of music. It’s the “passing on” part, the “why” part of it. And to me that’s the most essential of all…
Now that we have unlimited access to music, what does stick with us? Well, let me share with you a story of what I mean by really sticking with us. I was visiting a cousin of mine in an old-age home, and I spied a very shaky old man making his way across the room on a walker. He came over to a piano that was there, and he balanced himself and began playing something like this. [plays notes on piano] And he said something like, “Me…boy…symphony…Beethoven…” And I suddenly got it and I said, “Friend, by any chance are you trying to play this?” [plays Beethoven concerto] And then he said, [excitedly] “Yes, yes, I was a little boy. The symphony, Isaac Stern, the concerto, I heard it.” And I thought, My God, how much must this music mean to this man, that he would get himself out of bed, across the room, to recover the memory of this music! That after everything in his life is sloughing away, still means so much to him…
Well, that’s why I take every performance so seriously, why it matters to me so much. I never know who might be there, who might be absorbing it, and what will happen to it in their life.
But to get on with this posting. One of the nominees at the 64th Tony Awards was the revival of Promises, Promises with a score by Burt Bacharach, including some of his interpolated standards (like “A House is Not a Home” and “I Say a Little Prayer”, neither of which were in the original production), so I’m thinking that this bootleg vidcomp from an actual performance would be a good introduction to the work of this (as my beloved John Wilson, Conductor might deem him) “top-drawer American tunesmith”. The connection to my posting on Milhaud above? Bacharach was a student of Darius Milhaud, and you can hear what he retained from the modernist master in his distinctive, almost Latin, rhythms—think of Eddy Mitchell’s “Always Something There to Remind Me” or Dusty Springfield’s “Twenty-four Hours from Tulsa”.
Counted among one of the greatest cellists in the Golden Age of String Players, George Neikrug has died, the day after turning 100.
Born in New York, at age 24, Neikrug met D.C. Dounis, a Greek pedagogue, whose revolutionary approach had a profound influence on the young cellist. “Trying to tell you about Dounis’s teaching is like asking me to tell you about a whole science like biology,” Neikrug said. “Dounis put very much emphasis on the most basic things I did like how I played a down bow and an up bow. He would show me how to play a down bow and an up bow and then I would play through a whole piece and he would sit there and practise with me. If he caught me doing one thing wrong I’d have to do it over again so I learned this tremendous amount of concentration…”
It was thanks to his studies with Dounis that Neikrug resolved to devote his life to teaching at schools including Detmold, Oberlin, the University of Texas-Austin and Boston University, whose arts faculty he joined in 1971.
In 1960, Neikrug performed “Schelomo: Rhapsodie Hébraïque“, the final work in Swiss composer Ernest Bloch’s 1916 Jewish Cycle. with the NBC Symphony at Carnegie Hall and Leopold Stokowski, who described the cellist’s performance as “unforgettable”.
Three years after Man of La Mancha was a major hit on Broadway, Belgian music legend Jacques Brel licensed the staging rights, adapted the book, translated the lyrics, directed the production, and starred as Don Quixote with the original Dulcinea herself, Joan Diener.
Here’s one that just tears your heart out (English lyrics by Joe Darion; music by Paul Hindemith-trained Mitch Leigh; French lyrics by Jacques Brel):