 |
|||||
|
Two nice treats to look at this week—first, a collection of miscellaneous Broadway songs that are mostly obscure items by mostly well-known writers; and a neatly done tribute to Tony Bennett.
Calling all collectors of rare show tunes and those who lament the lost never-recorded shows of the old days. It's time to smile gratefully. You'll find that Lost Broadway ... is indeed quite a find. In most cases, these are not simply salvaged oddities by some guy who landed a gig writing a show that flopped and went back to laboring in obscurity. You'll recognize the names of many of the writers. Much has been lost in the shuffle of musical theatre, especially in the days of old when there was no such thing as a full-length cast album and no revival or film came along to make a belated album likely. And, of course, flops are less likely to be recorded. You may not here find that great long-lost buried treasure masterpiece that will make you gasp—most of these are more in the "charming" or "little gem" category and many will induce smiles and delight. Some may seem quaint now, and some are novelty comic pieces, but this is quite a haul, all in all: two dozen tracks, performed with great affection and spirit by the performers here. Mostly solos and with a casual kind of ambience, the songs, with piano accompaniment, don't project that "cast album" feel, but more of a fun night sitting around the piano with some talented party guests. Counted among the cast album "missing in action" are some songs that were cut or just didn't make the cut on the limited-space album: "Here We Are Again" from Bob Merrill's Take Me Along, "There's a Sweet Wind Blowin' My Way" from Harold Arlen and E.Y. Harburg's Jamaica and the brisk "Once Ev'ry Four Years" from Mr. President, Irving Berlin's last Broadway score. Another Berlin number, "Any Bonds Today?"—which is a plea to buy war bonds—is an example of a song that has had more exposure, heard on screen in Blue Skies and in a short by that great musical icon, Bugs Bunny. Numbers not originally preserved as part of cast albums had later exposure in commercial recordings by singers who were not part of shows: From Carnival in Flanders, the lovely "For a Moment of Your Love" has been on a couple of albums, like jazz singer Stephanie Haynes' tribute to the work of its composer James Van Heusen. But the score's "Very Necessary You" is more of a discovery, with a bright lyric by Johnny Burke. Likewise, "Lost in a Fog" (Jimmy McHugh/ Dorothy Fields) can be found on albums by singers such as Ella Fitzgerald, but this same writing team's "As Long As We're in Love" is here, too; it marks the one vocal appearance by Daryl Sherman (billed as the special guest) in a marvelously cozy duet with versatile William Zeffiro, who anchors the album as its pianist and a singer on more than half the tracks. A musical jack of all trades, Zeffiro is musical director/performing host of ongoing open mics and concerts in Manhattan called "Big Night Out" (for example, there's one tonight at Don't tell Mama on West 46 St.), and he wrote the score for a spiffy spoofy musical himself called The Road to Ruin (that one was recorded!). He sounds very much at home with any period style, playing and singing (the only male voice) with exuberance and panache. He switches singing partners to be with Lynne Wilson, who sounds canny and comfortable with her material, too, for Noel Coward's "The Parting of the Ways" (temporary, I assure you: the two are husband and wife in real life). Brooke Sunny Moriber, with her strong, high belt brings a fervent theatricality and excitement on such numbers as the title song from Sensations (Wally Harper/ Paul Zakrzewski). Joan Bender provides a sense of fun and saucy energy to the plucky lyrics of George R. Brown and Sol Meyer in the title song from Tahiti Honey. It's one of two numbers with music by the great Jule Styne: the other is a major highlight, the well-crafted and satisfying (in the way good sad songs can so be) "Three Dreams" (from the film The Powers Girls), lyrics by Kim Gannon. But for oddball humor, there's the novelty song about a Jewish clergyman and a bunch of bunnies called—I kid you not—"(Keep Your Rabbits, Rabbi) We've Got Rabbits of Our Own." You might be surprised that the music for this stand-alone ditty was written by a giant better known for romantic or dramatic melodies: Jerome Kern. Franklin P. Adams is the lyricist. Who knew? For collectors and any theatre music fan who likes something off the beaten-to-death path, this is Shangri-La—which reminds me: there was a musical called Shangri-La and yes, its title song is here! Yes, tribute albums may be a dime a dozen, but here's one well worth putting aside some dimes for. Without vocally resembling Tony Bennett, or awkwardly trying to, vocalist Eddie Bruce captures some of the legend's taste, warmth and unpretentiousness, with splashes of the veteran singer's style and stylings. Eddie, who has been doing this material as a cabaret act, has a smoother, brighter sound, with round tones but the sunniness and sincerity projected by his idol. Some tracks have moments that are clearly modeled on the original recordings/concert performances that fans will be very familiar with. For example, there's the phrasing in "There'll Be Some Changes Made," down to the sort of whispered staccato lines, the way the arrangement builds to the big, sustained last note on "made" at the very end. He keeps Bennett's sly but amiably easygoing attitude in the seduction in "What Are You Afraid Of?" and the Bennett choice to replace the lyric "put some records on" to specifically for romantic mood "put Sinatra on." And in other places, there are little chuckles or pointed up words that distinctly recall what we've heard when we put the Bennett records on. This kind of thing is done rather judiciously so that things never start to sound slavishly adherent or overly predictable. Surely the blueprints and tempi are followed: nothing is wholly reinvented, but ever-ready Eddie more than freshens the brew. Overall, Bruce on Bennett stands on its own as just a good singer doing good songs. For our musical theatre score fans, there are a few that have their roots in shows; "If I Ruled the World," "I Got Rhythm" (where he lets his fine band, led by pianist Tom Adams, prove they got exactly that) and that old "Old Devil Moon" from that musical that's wended its way back to the Great White Way, Finian's Rainbow. You'll also hear "Maybe This Time" (note to proofreader for the next printing: the writing credits for this and "For Once in My Life" are accidentally switched). There's something very refreshing about the Bruce sound and voice: clean, very pleasing to the ear, but with thought behind it. The phrasing is natural and he sounds involved and convincing throughout. I find myself very attracted to it, especially the tastefulness of the ballads "Emily" and "When Joanna Love Me," conjuring up visual images and moods and avoiding mawkishness or melodrama. The simple-but-effective approach, trusting the material, is sure to bring a smile whether the mood created is sweet or bittersweet, whether the song is simply "Smile" or "The Shadow of Your Smile."
|
|||||
|
|
|||||
LOST BROADWAY AND MORE
EDDIE BRUCE
