TV Radio Mirror (Jul - Dec 1962)

-K-K-K-K GREAT! -K-K-K GOOD LISTENING ^C-K FAIR SOUNDS -K IT'S YOUR MONEY not been numerous. Of course, many landmarks have occurred in music for the concert hall. But Gershwin, I'm sure — alive and growing — would have broadened even that area. These works, though familiar enough, have not lost their lustre. (Particularly the "American in Paris" opus.) These pieces are permeated with blues. Not the garden variety, but Gershwin's own special brand. A highly sophisticated type. The performances are very good. Pennario rarely has great problems with any piano literature. (He is certainly underrated.) Whiteman, although no conductor in the classical sense of the word, carries his end creditably. The sound is good. (Mono.) Gershwin should be in everybody's collection. He's part of the American dream. From the tenement to worldwide renown in the musical world. It's indeed unfortunate that he didn't get the time to give us more of his personal look at ourselves: He knew us so well. ***Romeo and Juliet Overture and Till Eulenspiegel's Merry Pranks, Tchaikovsky — Richard Strauss ; Charles Munch cond. The Boston Symph. Orch. (RCA Victor) — Charles Munch is very sympathetic in his handling of the Tchaikovsky masterpiece, "Romeo and Juliet." The natural build in the very opening is very effectively brought off. In making the first statement of theme material, the strings make its meaning come to the front through striking, articulated playing, without a noticeable forte. Munch also plays down the first statement of the lyrical theme. All in all, it's sensitively done. "Till," which is possibly Strauss' most important work, is a most interesting orchestrating wonder. It's full of the kind of writing only a master can come up with. Strauss, who was a marvelous pianist and a greatly underrated conductor, knew the orchestra from many angles. The materials never become obscure, no matter how profuse the color and action effects. Munch and the orchestra seem to enjoy "Till," and well they should — it's a player's piece. If by some chance the pieces are not in your collection, I suggest you look into them. JAZZ ****I Had the Craziest Dream, Manny Albam Orch. (RCA Victor) — This is surely one of the most charming examples of taste I've come across in a while. It's chock-full of tidbits of adventurous sounds, plus the jazz playing of such-calibre musicians as Phil Woods and Bob Brookmeyer, Joe Newman and Clark Terry. The orchestra varies from the lush strings, sitting blanket-style and embracing the saxophone of Woods, to a shouting band fully equipped with brass, to a smaller brass ensemble which utilizes French horn and tuba. The writing is all jazz-orientated, but don't let that scare you jazz-shy people. It also embraces the best points of the "big band" tradition and the melody is in evidence. The tunes are all in the dream category: "I Can Dream," "A Kiss to Build a Dream On," "Wrap Your Troubles in Dreams," "Darn That Dream" — which features Brookmeyer's trombone and Miriam Workman's obligato voice line, sans lyric, and a shoutin' Woods solo. It always says something, this album. Good arrangements, first-rate players, good tunes and what more can I tell you? Manny Albam deserves his name on the front, too! He's done a great deal of wonderful creating and, to my knowledge, has never received the acceptance due him. Recommended. ****Jazz Samba, Stan Getz and Charlie Byrd (Verve) — To my mind, the biggest jazz pleasure of late has been the re-activated recording schedule of Stan Getz. Though he has always been a consistently first-rate jazz player, his few years' absence from the American jazz scene threw open wide the doors for a whole lot of new tenorsaxophone talent and his work was pushed into the background. In all honesty, Stan was, for some time, making recordings which were devoid of a unifying idea. Recently, he changed direction. He recorded an album for Verve called "Focus," with a string ensemble. (The writing was done by Eddie Sauter.) This was his first departure of significance in a great while. It was all original Sauter material, constructed tightly but leaving room for Stan to improvise — without leaving him the burden of sustaining a unified whole. The writing stood on its own. And Stan, not pressed to create new edifices, just relaxed and floated. It is, by far, one of the most outstanding jazz albums. (Please turn the page) t 19