Main menuMarti Webb , Marti Webb sings Gershwin
Dettagli del rilascio
| Titolo | Marti Webb sings Gershwin | ||||||||
| Artista(i): | Marti Webb | ||||||||
| Categoria: | BBC - Pickwick-PWKS (Fare clic su questo pulsante per visualizzare altre versioni di BBC - Pickwick-PWKS Kassetten.) | ||||||||
| Etichetta e numero di catalogo: |  BBC - HSC 657 | ||||||||
| Formato: | Tape Kassetten | ||||||||
| Paese: | UK  | ||||||||
| Rilasciato: | 1987 | ||||||||
| Genere: | Music - Popular Visualizza tutte le altre tracce elencate come Music - Popular. | ||||||||
| Codici di fuga: | |||||||||
| Elemento eliminato? | Sì | ||||||||
| Distribuito/stampato da | |||||||||
| Visualizzazioni di pagina: | 1084 volte dal 20 maggio 2017, la classifica globale è 6053, classificarsi cassettes is 345. | ||||||||
| La mia valutazione: | ***** | ||||||||
| Valutazione degli ospiti: | ***** | ||||||||
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| GEORGE GERSHWIN More than any of his comtemporaries, George Gershwin IS Broadway. There's a rhythmic fizz, an exuberance about certain Gershwin tunes that instantly evokes the brashness and vulgarity of American musical comedy in its earliest days. Even the ballads - the bluesy ''How long has this been going on?'', the yearning ''He loves and she loves'' - have a wry bottersweetness that is somehow far more New York than the lusher melodies of Kern and Rodgers. When Gershwin died of a brain tumour on July 11th 1937, he was only 38, and his career had lasted barely 20 years. Yet he achieved more than most composers do in thrice that time. George was the cocky young song-plugger who crossed the tracks. According to Irving Caesar (George's last surviving lyricist, now 92), their first hit, ''Swanee'' (1919), was a shameless attempt to cash in on the success of a popular one-step, ''Hindustan''. ''Why can't we write an American one-step?'' asked Caesar. ''Something about Dixie?'' Marti uses the number to set the scene for a much rarer item, ''The real American folk song'' (1918), the first publicly performed song by George and his brother Ira, which sank without a trace but whose title is almost a definition of the entire Gershwin catalogue. Together, these songs capture all the swank and sass of those Tin Pan Alley publishing houses and their cramped cubicles, with George bashing away at an upright piano,a ccompanied by some cigar-chewing, sandpaper-voiced lyricist. With Beddy De Sylva, he wrote ''Do it again'', an ostensibly innocent lyric set to a tune of spine-tingling seductiveness, and ''Somebody loves me'', with lyrical assistance from Ballard MacDonald, an Alleyman best-remembered for ''Trial of the lonesome pine'' and Woodrow Wilson's campaign song. From such beginning, Gerorge became one of the great Broadway innovators. In satirical operattas like ''Strike up the band'', he attempted to Americanise Gilbert & Sullivan, and it was Gershwin who first saw the potential of Du Rose Heyward's novel ''Porgy'' and whose persistance and vision eventually brought it to the Broadway stage. ''Porgy and Bess'' may or may not be an opera, but it is certainly a superb American musical, a forerunner of the integrated dramatic shows of the 1940s. And, within George's scores, are all those songs, exquisitely-crafted miniatures, full of bold, roving harmonies and an instant rhythmic pulse. Ironically ''The man I love'', perhaps the classic 32-barmasterpeice, never fond a home on the stage: it was rejected from three shows. Most og George's best melodies have lyrics by his brother, although, because of producers' natural suspicion of sibling partnerships, it was not until 1924 that the collaboration became permanent. The two men could hardly have been more different. George was a great socialite, a ladies' man; Ira was shyer, more reserved, and, as he wrote in ''Someone to watch over me'', ''he may not be the man some / Girls think of as handsoe''. Ira generally preferred a playful, whimsical appraoch to romance, even when, as in ''Embraceable you'', George's music was as its most passionate: ''But hang it - Come on, let's glority love! Ding dong it - You'll shout 'Encore!' if I love.'' Ira's modest colloquial lyrics account for much of the charm of Gershwin songs. That rueful line about ''any Russian play'' in 'But not for me'' underlines the wistfulness of the melody, just as the apparently inconsequential words of ''Fascinating rhythm'' sit perfectly on George's nervous, jittery tune. Ira was sufficiently sensitive to the confours of his brother's music to realise that the principle theme of ''I got rhythm'' would sound better without rhythms, and was such a painstaking craftsman that he always felt to use of the obvious filler word ''right'' in ''Love walked in'' disfigured George's Brahmsian melody. Yet if there are any true-art songs in the English language, Gershwin's have a stronger claim than most, precisely because, unlike, say, German lieder, the music is not marred by the preposterous, overblown generalities of the lyrics. George's serious musicv was popular, his popular music serious, but the true Gershwin genius is found in his songs, and in performances like Marti's dreamy, shimmering interpretation of ''Summertime''. To paraphrase his very last composition, it's very clear Gershwin is here to stay. MARK STEYN - Musical theatre writer IAN HUGHES Ian Hughes divides his time between working in the West End Theatre, recording studios and television. He has conducted many West End productions including ''Sweeney Todd'', ''They're playing our song'', ''Mr. Cinders'' and currently the award winning ''Me and my girl''. MARTI WEBB Marti Webb has now established herself as the Queen of the West End Musical, having appeared in such shows as ''Oliver'', ''Stop the World, I want get off'', ''Half a sixpence'' and ''Godspell'' and starred in ''Cats'', ''Evita'' and ''Song and dance''. Marti has also had that extremely rare accolate for an actress:- appearing frequently in the Top 10 with her hit records:- ''Tell me on a sunday'', ''Ben'', ''Take that look off your face'', and ''Always there'' from the television series ''Howards' way''. Arranged and conducted by Ian Hughes Alto saxophone - John Franchi Tenor saxophone on ''How long has this been going on?'' and ''The man I love'' - Jeff Daly Oboe, cor-Anglais - Richard Morgan Flugel horn solos on ''Do it again'' and ''The man I love'' - Dave Hancock Piano on ''The man I love'' - John Horler Piano on ''Rhapsody in blue'', ''Swanee'' and ''The real American folk song'' - Ronnie Price Harmonica on ''Swanee'' - Tommy Reilly Trombone on ''The man I love'' - Ted Barker Piano on ''He loves and she loves'' - Kevin Fitzsimmons All synthesizers programmed by Derek Austin Sterling contributions from Lennie Bush (double bass), Andy Pask (bass guitar), Alan Cox and Barry Morgan (drums), Roy Wilcox (clarinet and flute) and Andy Jacobs (guitar and banjo). All arrangements by Ian Hughes who also played piano on much of the album. | ||
Ulteriori informazioni | ||
| Alle US-amerikanischen Pickwick-Labelversionen finden Sie verlinkt bei der Muttergesellschaft Pickwick International, Inc. Pickwick Records etablierte sich dank innovativer Geschäftspraktiken schnell als Marktführer für preisgünstige LPs. Es war das erste britische Unternehmen, das exklusive Lizenzverträge mit den großen Plattenfirmen abschloss (viele Jahre lang war es die offizielle preisgünstige Neuveröffentlichungsstelle für Labels wie RCA - seit 1973 - und CBS). | ||
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