Tunesmiths in overalls

Press, 13 November 1985, Page 18

Tunesmiths in overalls

By

ALLAN FRANCIS

BEST OF BROADWAY. Selections by GERSHWIN, COLE PORTER, WEBBER, LERNER AND LOWE, RODGERS AND KAMMERSTEIN, LEROY ANDERSON, IRVING BERLIN AND JEROME KERN. Four records. K-TEL KTA3,C, and D.

In a carefully planned venture that covers the best of old and new tunes (no Beatles or Baccarach!), someone has designed a budget-priced onslaught that

should strike a few nerve centres right on target. No frills, no liner notes (even the orchestra remains anonymous — this quartet of records manages to give generous portions of eight of the most durable American (and English) tunesmiths. In place of some glossy arrangements these come in over-alls and no-nonsense terms.

A perfectly adequate orchestra modestly goes through its paces with fine arrangements that are singable and danceable at a leisurely pace, yet calculated to also suit those who want to sit them out and just listen.

As may’be expected, the plan to even things out works better in some instances than others; Gershwin responds to this sort of treatment whereas Irvin Berlin sounds slightly dated. Jerome Kern is truly heartfelt with arrangemements in a style that probably originated from older masters such as Jackie Gleason or Norrie Paramor.

The English flavour is apparent in “I Won’t Dance” and others, especially the Lerner and Lowe repertoire.

There is no more currently popular composer than Andrew Lloyd Webber and his contributions from “Cats,” “Evita,” “Jesus Christ Superstar,” and “Starlight Express” will rouse more than average interest. Happily, this selection includes vocals from a singer whose identity we may never know, but very much in the right idiom of the Webber song. Eight sides of unrelieved orchestra might have palled, but for the use of those essential words to Andrew Lloyd Webber’s pungent music. By comparison, Leroy Anderson’s strutting style with his not so rare old tunes, “Fiddle Faddle,” “Syncopated Clock” and “Belle of the Ball” sounded almost ludicrous.

How many times one has climbed every mountain from Richard Rodgers “Sound of Music” may be the ultimate guide of whether there is sufficient energy left to do it yet again. Some might feel that the journey is simply a tiresome repeat, as indeed it seems that “Westside Story” has proved to be. Within the generous framework of these four records, though, is sufficient evidence of wide planning that should please everyone

at some stage. The cost is barely more than the price of one average LP, so, with due regard to all factors, the value for money aspect must be the main attraction.

GRAY BARTLETT. Two Shades of Gray. A double album of Country and Gospel Classics. FESTIVAL L55005/6.

Giving more the impression of an oil magnate from Iran than a genuine country vocalist, Gray Bartlett also provides a feast of songs and instrumental numbers , in differing directions. There is nothing quite as mysteriously Eastern as * staring woodenly from behind dark glasses; the on-■■■« looker is never quite sure * whether the wearer is contemplating an oil price increase or the “Sweet Bye and Bye.” In this case, it is the latter as Bartlett moves*• from the uncertain bead ■*“ curtains of his particular oil domain and launches into 21 numbers that completely remove any doubts in the 1 -" listeners’ minds. The enigmatic Barlett be- -» lies first impressions by ' deftly encompassing the i country and gospel idioms with equal ease. His skill as L a guitarist matches that of '■ his vocals. “Forty Miles of “ Bad, Bad Road” and other ’ toe-tapping show-stoppers ’ bear witness to that. Unlike his Eastern coun- * terparts, Bartlett’s sincerity - is never in doubt as he ’ handles the old scores, “Whispering Hope,” “How Great thou Art” or “Amaz- * ing Grace” with feeling and • a pretty decent sort of « voice.

It is unquestionably get- i ting harder to categorise S faces with professions any " more; at one stage country * singers all looked like Willie - Nelson or Tex Morton. ? Nowadays, ability is where = you find it and, in Gray * Barlett’s case, no-one could • possibly berate his dual J roles of country singer and • guitarist after hearing this ” album. L,