In A Mist
Sauter-Finegan Orchestra
Photo by David B. Hecht
RCA LPM-1341 & LPM-1342 (SLP-27)
1957
RCA LPM-1341 & LPM-1342 (SLP-27)
1957
From the back cover: The combined talents of Eddie Sauter and Bill Finegan have been directed on this occasion to an analysis of certain madrigals that once upon a time were prize hits by certain of the most popular dance bands in America. In a strong sense the album is far less an analytical affair than it is a resounding salute in "New Orthophonic" sound to the main movers of that period which we now (sometimes longingly) refer to as "The Golden Age." If you care to be precise about it, the album is a stunning achievement in modern entertainment, a warm awakening of memories in the advanced musical interpretations of two men who have been roundly applauded for their unique arrangements and presentations.
Whereas in olden times- that is, for other RCA Victor albums of theirs-Sauter and Finegan may be accused of exploring unknown avenues of repertoire, this trip they have ridden down some extremely well-traveled, well-known boulevards. While their method of transportation may be strictly 1957 – and it is just that parts anyhow of the basic design are still the same. Or, to say in words something that is perfectly obvious to the ear, once the notion had been struck to honor some of the famous old bands by redoing in new Sauter-Finegan arrangements a cross section of old dance hits, the boys first retreated to the original records. Then, using these discs as a springboard, they translated the original hits into the splendid expressions on this recording. In frequent instances this was done with considerable affection, for both Eddie Sauter and Bill Finegan have been associated with many of the names who were so prominent in that golden age Benny Goodman, Glenn Miller, Tommy Dorsey, Mildred Bailey, Red Norvo, to name a few. Too, there is much humor in the writing, which you would naturally expect from Eddie and Bill who cannot hide the twinkle in their eyes no matter how hard they try. But this is not humor-in-the-poking-fun-vein, but humor of warmth. You may laugh at a model T Ford when you see one on the street, but down deep inside you willingly admit it was a mighty fine automobile.
Getting down to brass instruments, Avalon (Sauter arrangement), which comes out with the explosiveness of the finale of Tchaikovsky's 1812 Overture, was in the mid-'20s a smash success by the King of Jazz. Paul Whiteman used a musical saw in his recording; Sauter and Finegan do not. Chant of the Weed (Sauter arrangement) bears a remarkable resemblance to its original self. This was written by Don Redman and featured by him during the ten-year existence of his swinging band. Redman, as you may recall, was an alto saxophonist and arranger for Fletcher Henderson and McKinney's Cotton Pickers before organizing his own band with Horace Henderson's assistance in 1931.
Bill Finegan's arrangement of Star Dust, with Bobby Nichols on trumpet and Andy Roberts' heartfelt vocal, owes its allegiance to no particular band, but is in truth a tribute to the star-dust days of the dance bands and especially to Hoagy Carmichael who wrote it and Isham Jones who first played it. Got a Date with an Angel (Sauter arrangement) was the theme and hit of Hal Kemp's orchestra, which incidentally sang the opening lines with a good deal less gusto than herein displayed by the Sauter-Fineganites. Kemp, who brought a college band out of the University of North Carolina, achieved the heights in the late '30s with his brand of suave dance music generally featured by the staccato bite of the brass and the mellow blending of the sax section. Rockin' Chair (Finegan arrangement) is for Mildred Bailey. Liza (Finegan arrangement) salutes the amazingly competent and highly courageous drummer, Chick Webb. Not only is Chick fondly remembered for his wonderful band, but also for a vocal discovery of his – Ella Fitzgerald.
Thinking of You (Sauter arrangement) brings back distinct memories of the man who was known by millions as the president of the Kollege of Musical Knowledge. He would be Kay Kyser, now a bonded colonel of Southern aristocracy. Surely one of the most interesting pieces in this collection is In a Mist (Sauter arrangement), written by the immortal cornetist, Bix Beiderbecke. Strange to think of Bix, the darling of the Dixielanders writing a piece of such outstanding caliber as In a Mist, which owes so much to Debussy and Ravel. But those who think it strange do not know their Bix, for. as Frank Trumbauer said: "Bix was an intelligent young man, a fast thinker, and well versed in many things, and, much to the surprise of many people, he was an ardent student of Debussy, Stravinsky, Cyril Scott and Eastwood Lane knew their symphonies like most jitterbugs know their Goodman, studied and loved them, and, strange to say, understood them." The Sauter-Finegan In a Mist is largely a vehicle for brilliant Joe Venuto.
I Get a Kick Out of You (Finegan arrange- ment) is a swinging venture by vocalist Andy Roberts and the full band. Lonesome Old Town (Sauter arrangement) provided tuba player Don Butterfield with a great deal of exercise, and the tune itself, naturally, blows memorable smoke rings for Ben Bernie, af- fectionately known as "The Old Maestro." Finally, How Am I to Know (Finegan arrange- ment) swings solidly for Jimmie Lunceford and his ace arranger, Sy Oliver.
This, then, is UNDER ANALYSIS, with which Eddie Sauter and Bill Finegan invite you to remember the nights and the bands that played for your dancing. – ROY E. MORSE Rutgers University
From Billboard - March 16, 1957: As usual with S-F albums, much of the appeal is in the wide instrumental color range, which obviously offers hi-fi dial-twiddling opportunities. Tunes are oldies associated with great bands, etc., of the past, as "Got A Date With An Angel," "Avalon," "Lonesome Old Town" etc. Arrangements are strictly S-F, and mostly good fun. Jocks could have a ball with these if they can dig up the originals for comparison. It's listening music, not dance music, but it should have a healthy sale.
Avalon
Chant Of The Weed
Star Dust
Got A Date With An Angel
Rockin Chair
Liza
Thinking Of You
In A Mist
I Get A Kick Out Of You
It's A Lonesome Old Town
How Am I To Know
Whereas in olden times- that is, for other RCA Victor albums of theirs-Sauter and Finegan may be accused of exploring unknown avenues of repertoire, this trip they have ridden down some extremely well-traveled, well-known boulevards. While their method of transportation may be strictly 1957 – and it is just that parts anyhow of the basic design are still the same. Or, to say in words something that is perfectly obvious to the ear, once the notion had been struck to honor some of the famous old bands by redoing in new Sauter-Finegan arrangements a cross section of old dance hits, the boys first retreated to the original records. Then, using these discs as a springboard, they translated the original hits into the splendid expressions on this recording. In frequent instances this was done with considerable affection, for both Eddie Sauter and Bill Finegan have been associated with many of the names who were so prominent in that golden age Benny Goodman, Glenn Miller, Tommy Dorsey, Mildred Bailey, Red Norvo, to name a few. Too, there is much humor in the writing, which you would naturally expect from Eddie and Bill who cannot hide the twinkle in their eyes no matter how hard they try. But this is not humor-in-the-poking-fun-vein, but humor of warmth. You may laugh at a model T Ford when you see one on the street, but down deep inside you willingly admit it was a mighty fine automobile.
Getting down to brass instruments, Avalon (Sauter arrangement), which comes out with the explosiveness of the finale of Tchaikovsky's 1812 Overture, was in the mid-'20s a smash success by the King of Jazz. Paul Whiteman used a musical saw in his recording; Sauter and Finegan do not. Chant of the Weed (Sauter arrangement) bears a remarkable resemblance to its original self. This was written by Don Redman and featured by him during the ten-year existence of his swinging band. Redman, as you may recall, was an alto saxophonist and arranger for Fletcher Henderson and McKinney's Cotton Pickers before organizing his own band with Horace Henderson's assistance in 1931.
Bill Finegan's arrangement of Star Dust, with Bobby Nichols on trumpet and Andy Roberts' heartfelt vocal, owes its allegiance to no particular band, but is in truth a tribute to the star-dust days of the dance bands and especially to Hoagy Carmichael who wrote it and Isham Jones who first played it. Got a Date with an Angel (Sauter arrangement) was the theme and hit of Hal Kemp's orchestra, which incidentally sang the opening lines with a good deal less gusto than herein displayed by the Sauter-Fineganites. Kemp, who brought a college band out of the University of North Carolina, achieved the heights in the late '30s with his brand of suave dance music generally featured by the staccato bite of the brass and the mellow blending of the sax section. Rockin' Chair (Finegan arrangement) is for Mildred Bailey. Liza (Finegan arrangement) salutes the amazingly competent and highly courageous drummer, Chick Webb. Not only is Chick fondly remembered for his wonderful band, but also for a vocal discovery of his – Ella Fitzgerald.
Thinking of You (Sauter arrangement) brings back distinct memories of the man who was known by millions as the president of the Kollege of Musical Knowledge. He would be Kay Kyser, now a bonded colonel of Southern aristocracy. Surely one of the most interesting pieces in this collection is In a Mist (Sauter arrangement), written by the immortal cornetist, Bix Beiderbecke. Strange to think of Bix, the darling of the Dixielanders writing a piece of such outstanding caliber as In a Mist, which owes so much to Debussy and Ravel. But those who think it strange do not know their Bix, for. as Frank Trumbauer said: "Bix was an intelligent young man, a fast thinker, and well versed in many things, and, much to the surprise of many people, he was an ardent student of Debussy, Stravinsky, Cyril Scott and Eastwood Lane knew their symphonies like most jitterbugs know their Goodman, studied and loved them, and, strange to say, understood them." The Sauter-Finegan In a Mist is largely a vehicle for brilliant Joe Venuto.
I Get a Kick Out of You (Finegan arrange- ment) is a swinging venture by vocalist Andy Roberts and the full band. Lonesome Old Town (Sauter arrangement) provided tuba player Don Butterfield with a great deal of exercise, and the tune itself, naturally, blows memorable smoke rings for Ben Bernie, af- fectionately known as "The Old Maestro." Finally, How Am I to Know (Finegan arrange- ment) swings solidly for Jimmie Lunceford and his ace arranger, Sy Oliver.
This, then, is UNDER ANALYSIS, with which Eddie Sauter and Bill Finegan invite you to remember the nights and the bands that played for your dancing. – ROY E. MORSE Rutgers University
From Billboard - March 16, 1957: As usual with S-F albums, much of the appeal is in the wide instrumental color range, which obviously offers hi-fi dial-twiddling opportunities. Tunes are oldies associated with great bands, etc., of the past, as "Got A Date With An Angel," "Avalon," "Lonesome Old Town" etc. Arrangements are strictly S-F, and mostly good fun. Jocks could have a ball with these if they can dig up the originals for comparison. It's listening music, not dance music, but it should have a healthy sale.
Avalon
Chant Of The Weed
Star Dust
Got A Date With An Angel
Rockin Chair
Liza
Thinking Of You
In A Mist
I Get A Kick Out Of You
It's A Lonesome Old Town
How Am I To Know
WOW! Great! Thank you!
ReplyDelete