Up In Central Park 1/27/45

My first impulse is to say that I hope I'm not getting more jaded the older I get. Actually, I don't think it's being jaded per se. I'd like to think that knowledge of the art form leads one to make higher informed opinions of said art. Or something like that. Regardless. Up in Central Park is just fine. It's Romberg at his blah-est (with some nice moments). After listening to a lot of (well acted and written) opera recently I'm no longer as impressed with stagnantly acted- yet impeccably sung- musical theater or operetta. So this recording kinda falls flat for me. Eileen Farrell is lovely. Too bad she wasn't in the original cast. The are only a couple other original cast members on this somewhat-complete semi-cast recording. I've always enjoyed Wilbur Evans. He has such a smooth baritone voice that, whilst always singing full out, I get the sense he is always acting and engaged with the story. In fact, every track he sings I find enjoyable. Close As Pages In a Book (Evans and Ferrall) is seeping of syrupy operetta. And I love it. Two great voices voicing voiceless passion. Let's go find more recordings with Wilbur Evans. Incidentally, Celeste Holm shows up on a track about being the Fireman's Bride. GRADE: B+ (the plus for Evans)

ON THE TOWN 12/28/44

This is a fantastic record. While not technically a cast album, I'm including it. So tough. Nice to hear the authors sing the parts they acted originally. Also- Nancy Walker is a blast singing her songs. I bet she was funny to see. Mary Martin, however, was NOT in the original cast. But isn't it nice to hear her croon these songs? Because croon is what she does (she sings Lonely Town!?). Not exactly a sense of urgency in what she is singing about. The actor in me cares, but then I just sit back and enjoy. Young Mary Martin is so pleasant to hear. So pleasant. The orchestrations on the record are lush and busy and fun. Side note. Bernstein is funny to listen to on the record player. He has more than one repetitive passage ('you got me...' or 'it's all free...") to which I got up more than once to check if the player was skipping. GRADE: B

SING OUT, SWEET LAND! 12/27/44

Ok. This one was a shocker. Maybe it's because I'm really into folk music right now, but I found this cast album to be thoroughly enjoyable. Traditional broadway singing, blues, soul, folk... this has is all. And the year is only 1944! This show was an Americana folk revue. It didn't even run that long. Fresh off of the success of OKLAHOMA!, Alfred Drake shows off his glorious voice ("Where" is particularly great- his crescendo on the last note is pretty impressive). I love the blues songs on side B with Juanita (Bali Ha'i) Hall and the 'spiritual ensemble' (????). The highlight for me, however, is Mr. Burl Ives. Of course we all know his Christmas album. In fact, that's all I knew of him. Little did I know that his roots were in the folk musical world, which is how he was showcased in this musical. With a simple guitar accompaniment, he delivers in a silk voice some of the best old folk songs I've heard. Truly a highlight. I wish the whole record was him singing folk songs. But then, that isn't very theatrical and cast recording-like. Which could be my one quibble. This is a great cast recording, but the songs really are just popular songs of the day (or past 100 years) and don't further any discernible plot at all.

GRADE: B+

Bloomer Girl 10/5/44

Harold Arlen has always been one of my favorite composers, and this score certainly confirms it. I'm definitely going to be listening to this show more often. By no means is this a cd of perfect performances. Joan McCracken is obnoxious on her comedy songs. I feel like the speaker is nagging at me while I'm listening to her sing "T'Morra' T'Morra'".... MAKE IT STOP....
However, the other songs are so beautiful on the ears. Fantastic orchestrations by Robert Russell Bennett. Celeste Holm is quite charming, although I prefer her comedy to her legit singing. "The Eagle and Me" is a highlight. There are a couple musical passages that are just stunning- the strings in "Sunday in Cicero Falls" for example. It's also fun to hear Harold Arlen himself singing "Man For Sale".

GRADE: A-

SONG OF NORWAY - studio

I'm so glad I listened to the other SoN first before this one. Irra Petina , who was the star of the original, was not let out of her recording contract to do the Decca cast recording with the rest of the company and orchestra. Columbia decided to release an album with her singing her songs from the show. I can't say I'll ever wanna throw this record on to hear the show. It's not really fair to compare the two offerings since the Decca album is more of a OBC album, while the Columbia/Petina is more of a solo album. I can't imagine her with the rest of the original cast; her voice is too thin and stringy to me- especially when she sings the last high note of each song. I find it interesting that the orchestrations are not the same as the original. Some sections I like better, but overall I'd rather hear what was played in the theater. This album embodies everything I thought Song of Norway was going to be before I actually heard it: lofty, boring, too operatic, no acting, etc. I'm glad I've got the other album to show me that it is in fact interesting, fun, and theatrical.

Grade: C-

SONG OF NORWAY - 8/21/44

What an awesome cast album. I had no idea this is what it would be like. I've had a two disc studio recording for over ten years and I never could make myself listen to the damn thing. Now, however, I'm singing a different tune. This original cast album (minus the female star, Irra Petina) is the first I've heard that convincingly interpolates singing and speak, back and forth, in such a natural manner. Yes, they sing in a much loftier way, but I don't mind since it is seemingly act-able. This is considered an operetta, but I'm calling it a legit musical. Robert Shafer, who leads off the album, has an incredible tenor voice. The ending of the opening made me applaud from my reclined leather man-chair. Incredible. Also, I've never heard Kitty Carlisle sing like this, and I like it. The songs never bored me. Like I said, I've always had this impression that it would be an utter snooze fest. This is simply not the case. The melodies are very theatrical; they soar when they need to soar and get quiet when they need to be quiet. I'm excited to listen to the next recording of this starring Irra Petina, who wasn't allowed to record with a different record company from the one she was signed to. Stay tuned.

GRADE B+

MEXICAN HAYRIDE - 1/28/44

This album is pretty amazing. The first track, Sing To Me Guitar, blew me away the first time I heard it. I literally stopped everything I was doing and just listened. I love the way the strings weave into the guitars so seamlessly. Great orchestrations. But why is June Havoc impersonating Ethel Merman? She keeps doing those little flips on the first note of each phrase. ie. Ethel's "There's nnnnnnnoooooooOOO business like shoooooOOOOOw business",... I don't know if that's how Havoc really sang or not, but it seems copycat-like. That being said, I love hearing Wilbur Evans singing this kind of material. I first noticed him in the studio recording of MERRY WIDOW, but this now furthers my interest. Other songs on the album are fun and typical Porter. It isn't his best score, but it certainly isn't the worst. The show was a success at the time, running over a year. I find it strange that Bobby Clark was the star of the show, but he doesn't appear on the recording at all. Speaking of; this recording is particularly worth having if just for the bonus material. Mary Martin sings six fantastic Cole Poerter songs.

Grade B+