Skellern at his peak

Press, 30 August 1984, Page 19

Skellern at his peak

By ALLAN FRANCIS OASIS. Peter Skellern, Mitch Dalton, Bill Lovelady, Mary Hopkin and Julian Lloyd Webber play 10 numbers of originals and standards. WEA GB WX3 2403721 Peter Skellern has obviously used his past recordings of Astair and so on to get him up to this venture, which must be regarded as a peak in his career. To this end he has enlisted the services of such esteemed artists as Mary Hopkin and Julian Lloyd Webber, plus the composing talents of Bill Lovelady.

Most of it belongs to Skellern, however, with the exception of one track, of all things, Cole Porter’s “True Love”! All the vocals are handled by Skellern and Mary Hopkin, the latter now in the class of a “voice of experience.” Weaving through the entire melody line is the masterful cello of Julian Lloyd Webber and the plaintive acoustic guitar of - Lovelady. The respect Skellern shows for the masters of the popular song is evident in this project as his music and lyrics are but an extension of the best work from the 30s and 40s.

Learning heavily on the make-believe world of romance and dreams of the pre-war song, Skellern forms some highly sensitive lyrics to the gentle melodies, complementing each other perfectly in such numbers as “If This Be The Last Time,” “Hold Me,” “Weavers of Moonbeams,” or “Who Knows.”

“Prelude” is perhaps Skellern’s answer to Andrew Lloyd Webber’s pieces cus-tom-built for his brother. It is a nice touch, whatever the motive may be. The only weak link in the whole event comes at the end, unfortunately, and it leaves the listener with a feeling of being let down. Of all Cole Porter’s most tuneful numbers on hand, I wonder what prompted Skellern to choose “True Love” as his coda.

It is turgid and trite, and even the two singers of such calibre could not lift this one, which was originally composed for an actress who could not sing. This is

the only bad spot in the whole programme, but it marks heavily against the selectors. ROSE OF TRALEE. James Last plays Irish Favourites. POLYDOR 815 984-4. Trading on the success of the Irish and Irish music generally, James Last has produced a batch of tunes calculated to as near as possible to the real thing in all styles but his own. The programme opens with the traditional “Come Back to Erin” in the lush, Mantovani manner, proceeds to “Irish Stew” in the best fiddles and accordian style and thence to most of the good old Irish tunes, including “Maggie.”

Some stand out more than others: “Eriskay Love Lilt” and “Banks of My Own Lovely Lee” are particularly lyrical and attractively played. “Londonderry Air” is the indispensable equivalent of the English “Greensleeves,” so it, too, makes a necessary appearance.

The recorded sound of Polydor digital is superbly clear and fresh and even the Last original, “I Love 1.R.E.L.A.N.D.,” should not deter the love of the Irish.

HYMNS-SPHERES. Keith Jarrett, organ, recorded at the Benedictine Abbey, Ottobeuren. 1976. ECM 1086/ 1087.

This brilliantly recorded set is the sole work of Keith Jarrett who, in seeking absolute purity of sound snd style, chose the Trinity Organ on which to play these pieces. In so doing, Jarrett has added yet another triumph

to his already distinguished ability as pianist and composer. His work here is entirely convincing and should be heard by those who are already aware of his unique genius for improvisation.

Rather than fall for the all too easy fashion of electronic substition, Jarrett has taken the harder yet more satisfying course of displaying his prowess on a baroque instrument. In this set he shows a greater degree of genuine talent than ever before.