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My Beloved John Wilson Conducts The John Wilson Orchestra in a Swingin’ Christmas on BBC2, Christmas Day 2010

With singers Anna-Jane Casey, Seth MacFarlane, and Curtis Stigers. Mike Lovatt solos on the trumpet. Plus brazen hussy shimmy alert. Whoever would stifle that shimmy in years to come, my bonny, would stifle your spirit.

Swinging Christmas, 2010Above: The full audio of the BBC’s Swingin’ Christmas With the John Wilson Orchestra, 2010. Big Band medley selections are listed below. Find the complete show on YT here.

For the Big Band medley: “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.

This is the kind of music ID-ing I used to do when I was 18 and a night solfeggist at ASCAP, John.

Composer Andrew Cottee is the show’s orchestrator-arranger.

The entire 2010 BBC Swingin’ Christmas With the John Wilson Orchestra is available to view here

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John Wilson Conducts the Sinfonia of London, 4 September 2021 at the BBC Proms in the Royal Albert Hall in a Debut of Erich Korngold’s Symphony in F-sharp

For you fans, here’s the program for the 4 September, 2021 concert:

Francesca Chiejina, vocalist

John Wilson in PicadillyAbove Mister Personality: The Big Band medley from the BBC’s Swingin’ Christmas with The John Wilson Orchestra. List of tunes in the medley can be found on my blog posting, “My Beloved John Wilson Conducts The John Wilson Orchestra in a Swingin’ Christmas on BBC2, Christmas Day 2010”.

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Posted on by Cantara Christopher · 4 Comments

My First Music: Geraldo Among the Filipinos, 1963

God, Danny Sibolboro was such a weenie. Taken December 1963 at one of the many, many dances of the Moveable Filipino Club, Minneapolis, Minnesota. Geraldo was playing. Filipinos love Geraldo.

Cantara Dancing with Danny Sibolboro

“Hit the Road to Dreamland”
Harold Arlen, Johnny Mercer (1943)
Shall We Dance?
Big Band Arrangements of Geraldo
John Wilson Orchestra
John Wilson, conductor
Vocalion, 2002

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John Wilson, The John Wilson Orchestra, and That Beyond the Sea Soundtrack (Warners, 2004)

About 15 or so years ago, I was somebody’s plus-one on an industry pass to go to a preview of the showbiz biopic Beyond the Sea, which was being shown in a really good theater with an above-average sound system. I wasn’t a particular fan of Bobby Darin or even of Kevin Spacey (for all that he is the definitive Jamie Tyrone of our generation and frankly I don’t care about anything else); actually I just wanted to find out how cheesy the production could get. Well honestly, it did start off pretty cheesily, every element that should’ve contributed some genuine worth—like, you know, the lead acting, the directing, design, (makeup! prosthesis!) etc—was utter bad-phony, not good-phony, bullcrap…and then they struck up the soundtrack orchestra…

Beyond the Sea Poster.jpgAbove Spacey: “Beyond the Sea” as only my beloved John could do it.

If I could’ve exclaimed “Holy mackerel!” out loud the moment that gorgeous snap hit my ears I would’ve exclaimed it out loud, but you don’t do that at an industry screening, so I exclaimed it in my mind. I hadn’t heard a commitment like that coming from a track orchestra in a very long time. This was no pick-up crew, this was one tight unit, and they were hitting the musical values like nobody’s business. I vowed to remember the name of this bright new conductor-arranger—which of course I promptly forgot (There are a lot of John Wilsons in the world, as Anthony Burgess would be the first to tell you) and didn’t remember again until last May. Recorded by my darling and his O for the Warner Bros film at Pinewood Studios, 2003. A 2006 Grammy nominee in the Best Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media category (composers Charles Trenet-Jack Lawrence, arranger Dick Behrke, producer Phil Ramone). Available on Rhino Records, that notorious niche label, and I really must find out who at Warners moved it to that catalog.

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Posted on by Cantara Christopher

Two TV Theme Songs by Jack Keller and Howard Greenfield with the Brill Building Sound: “Gidget” (1965) and “Bewitched” (1964)

Here’s a treat for the weekend. Below are two show theme songs I remember note for note, word for word from the golden days of unpretentious woman-power television:

Bewitched bewitched / you’ve got me in your spell / Bewitched bewitched / you know your craft so well…

If you’re in doubt about angels being real / I can arrange to change any doubts you feel / Wait’ll you see my Gidget / You’ll want her for your valentine…

GidgetAmerica’s Sweetheart, two-time Oscar-winner Sally Field plays 15-year-old surfing-crazy, boy-crazy Francie “Gidget (girl+midget)” Lawrence in her first sitcom, which was based on the enormously successful eponymous 1957 novel by Oscar-nominated screenwriter/novelist Frederick Kohner, who in turn based the heroine on his own surfing daughter. Above Gidget, her theme song.

If you hear the Brill Building sound in Jack Keller’s easy, swingy tunes you’d be right—Keller worked in the Brill in NY the 50s, along with Neil Sedaka and Carole King, two of the many, many songwriters from that legendary song factory. And thanksHoward Greenfield for the nifty phrasing in “Gidget”.

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A Tribute to Carl Reiner (1922 – 2020): “That’s My Boy??” from His Finest Creation, The Dick Van Dyke Show, 25 Sep 1963; Plus Lionel Newman and the Theory of Swing from Composer David Bruce

The screenshot below doesn’t show where the laughs begin. The screenshot below shows the setup for the BIG REVEAL—leading to the longest studio laugh on American TV.

Rob is Stunned SpeechlessAbove: Pete Rugolo (who composed “The Fugitive” Theme) and Orchestra play “The Dick Van Dyke Show” theme, segueing into the theme for the contemporaneous TV show “The Many Loves of Dobie Gillis”.

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.

Anyone here remember the payoff? Here’s the entire episode in its new strikingly colorized and sound-sharpened version, Carl Reiner’s last ongoing project before his death.

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 2006 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!

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Pete Townshend’s Dad Cliff and The Squadronaires Perform “Rock’n’Roll Boogie”, 1956

From Who I Am: A Memoir by English progressive rock band The Who’s Pete Townshend (Harper, 2012):

The Squadronaires.jpgThe Squadronaires, “Rock’n’Roll Boogie”, 1956.

“In 1945 popular music had a serious purpose: to defy postwar depression and revitalize the romantic and hopeful aspirations of an exhausted people. My infancy was steeped in awareness of the mystery and romance of my father’s music, which was so important to him and Mum that it seemed the centre of the universe. There was laughter and optimism: the war was over. The music Dad played was called Swing. It was what people wanted to hear. I was there. …”

“As the son of a clarinettist and saxophonist in the Squadronaires, the prototypical British Swing band, I had been nourished by my love for that music, a love I would betray for a new passion: rock‘n’roll, the music that came to destroy it.”

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Lessons in Love, an Album of Songs by Lance Ellington, Played by The John Wilson Orchestra and Conducted by John Wilson

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”); and I just ordered Dance Date.

There are two other albums I haven’t gotten yet: One is with a pleasant but unimaginative crooner named Gary Williams (who I suspect was the chap 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 at the BFI) 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 (listen to his “It Don’t Mean a Thing If it Ain’t Got That Swing” from the show Ellington Sings Ellington) is the son of English bandleader/singer Ray (no relation to Duke) 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 through the computer screen not to do it. 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. (My beloved’s big smile at 4:23.)

Lance Ellington

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No Strings, a Broadway Musical with Words and Music by Richard Rodgers, 1962

No Strings
Diahann Carroll and Richard Kiley are the American lovers in Richard Rodgers’s No Strings, 1962. Above: “The Sweetest Sounds” from the 1962 Broadway show.

No Strings opened on Broadway in 1962 and ran for 580 performances. Rodgers got the idea for casting a black actress in the star role after seeing model-turned-actress Diahann Carroll on The Tonight Show, feeling that the casting spoke for itself and any specific references to race in the play were unnecessary. “Rather than shrinking from the issue of race,” said Rodgers, “such an approach would demonstrate our respect for the audience’s ability to accept our theme free from rhetoric or sermons.” The script was by Samuel A. Taylor, who wrote the play Sabrina Fair and adapted the book D’entre les morts by Boileau-Narcejac for the Hitchcock film, Vertigo.

Considered too risky by Broadway investors, the first production was almost entirely financed by Rodgers himself. Following out-of-town engagements in Detroit, Toronto, Cleveland and New Haven, No Strings finally opened at the 54th Street Theater on 15 March 1962. It was generally welcomed by the New York critics; at season’s end, it was nominated for nine Tony Awards, winning three: for Joe Layton as choreographer, for Diahann Carroll as Best Actress in a Musical, and for Rodgers for his score.

Upon seeing the 2003 No Strings revival at Encores! The New York Times‘s Ben Brantley wrote: “The revelation of No Strings is that one of songwriting’s greatest collaborators had it in him to fly high on his own. And fly high he did. No Strings deserves to be better known than it is. The music is youthful and jazzy, almost a throwback to the Rodgers of Rodgers & Hart. The lyrics range, frankly, from serviceable to as good as they get. The relationship between the two leading characters at the heart of this musical is in the fine tradition of the attracting opposites found in all the Rodgers & Hammerstein shows, and the emotional stakes are as real today as they were in 1962.”

As the title hints, there’s no string section in this pit. In fact there’s no pit: The musicians are all on stage, playing and occasionally making appearances in the story. The orchestrator Ralph Burns eventually did record an orchestration with strings for his own band, but I haven’t heard it.

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