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“Brunswick Presents 7. Why Do I Love You? 3:43 14. Can’t Help Lovin’ Dat Man 3:59 18. Bill 4:16 The Musical Romance” Countess Olga Albani & Frank Munn Carol Bruce, Helen Dowdy,Kenneth (P.G.Wodehouse–Oscar Hammerstein II– Show Boat (1932) Brunswick 20117, BX 12159-A Spencer & Chorus Jerome Kern) Recorded 9 August 1932 Carol Bruce 1. Overture 4:21 15. Life Upon The Wicked Stage 3:51 Victor Young & The Brunswick Concert 8. Finale 4:09 Colette Lyons & Chorus 19. Nobody Else But Me 4:05 Orchestra & Chorus Victor Young & The Brunswick Concert 16. You Are Love 4:26 Jan Clayton & Chorus Brunswick 20114, BX 12230-A Orchestra with Vocal Chorus Charles Fredericks & Jan Clayton Tracks 10–19 recorded in New York on Recorded 20 August 1932 Brunswick 20117, BX 12231-A 11 & 14 February 1946 with Show Boat Recorded 26 August 1932 17. Why Do I Love You 3:14 2. Ol’ Man River 3:59 Jan Clayton, Charles Fredericks & Chorus Orchestra conducted by Edwin MacArthur. Paul Robeson All recorded in New York with Victor Columbia 71757/61-D in Album MM 611, Brunswick 20114, BX 12096-A Young & The Brunswick Concert Orchestra mx XCO35831/40 Issued as Brunswick Album 38 Recorded 21 July 1932 All items Jerome Kern–Oscar Hammerstein II except where noted 3. Bill 3:56 Show Boat Transfers & Production: David Lennick • Digital Restoration: Graham Newton (P.G.Wodehouse–Oscar Hammerstein II– Studio Recording after 1936 film Jerome Kern) 9. Ah Still Suits Me 2:51 Helen Morgan with Louis Alter, piano Paul Robeson & Elisabeth Welch with Also available in the Naxos Broadway Musicals series ... Brunswick 20115, BX 12161-A orchestra conducted by Clifford Greenwood Recorded 9 August 1932 HMV B 8497, 0EA 2936 4. Can’t Help Lovin’ Dat Man 3:40 Recorded 18 May 1936, London Helen Morgan with Louis Alter, piano Brunswick 20115, BX 12162-A Show Boat Recorded 9 August 1932 1946 Broadway Revival 5. You Are Love 4:37 10. Overture 4:22 James Melton (Jerome Kern, arr. Robert Russell Bennett) Brunswick 20116, BX 12094-A Orchestra Recorded 20 July 1932 11. Cotton Blossom 3:21 6. Make-Believe 4:09 Show Boat Chorus & Orchestra 8.120786 8.120787 8.120788 James Melton 12. Only Make Believe 3:57 Brunswick 20116, BX 12160-A Charles Fredericks & Jan Clayton These titles are not available in the U.S.A. Recorded 9 August 1932 13. Ol’ Man River 4:17 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Kenneth Spencer & Chorus NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120789 6 8.120789 120789bk Show Boat 15/4/05 11:10 PM Page 1
Woolcott to arrange a meeting, going on and on when Ziegfeld started to get cold feet, they called The other major problem has to do with the musical film in 1936, Kern and Hammerstein Show Boat about how he had to get the rights to Show his bluff, with Oscar’s uncle Arthur offering to ending. Kim, the daughter of long-suffering wanted to add an additional song for Paul 1932 Studio Album and 1946 Broadway Revival Boat. The waspish Woolcott let his friend pick up the production. heroine Magnolia Hawks, becomes a performer Robeson, so they created Ah Still Suits Me for exhaust himself before finally turning and intro- It finally opened in Washington, D.C. on of a new generation on the show boat. his character of Joe. In the film, it was sung by Music by Jerome Kern • Lyrics by Oscar Hammerstein II ducing him to his companion of the evening, 15 November 1927. Hammerstein was later to The original actress to play the role, Norma Robeson and Hattie McDaniel, who played Edna Ferber. say that the show ‘was born big and wants to Terris, was a skilled impersonator, and so she Queenie. It appears here in a 1936 studio Show Boat shares something with the Mississ- equipped riverboats had been sailing up and Fortunately,Ferber and Kern got along, as did stay that way’, but at first, it was just a little too was allowed to do her ‘party pieces’ at that point recording made with Elisabeth Welch, a stage ippi River so central to its story: it never flows down the Mississippi river, presenting comedies, Hammerstein when he was added to the huge for words. The opening performance ran in the show. By 1946, Kern and Hammerstein and cabaret star who left Broadway in the early the same way twice. melodramas and variety shows to the people in equation. The trio then aimed their sights on nearly five hours, with the dense plot slugging it realized they needed something different, so 1930s to settle in England. Perhaps more than any other work in the riverside towns. Florenz Ziegfeld, the most flamboyant producer out against Ziegfeld’s penchant for overwhelming they came up with Nobody Else But Me, The remaining selections are all from the modern theatre, Show Boat has varied with each Ferber instantly saw this as a setting for one on the theatrical scene. production values. which proved be to the last song Kern ever 1946 Broadway revival which opened 5 January new incarnation, due to changes in political or of those sweeping historical romances that had He, too, loved the idea and wanted it to open The authors began cutting through wrote. And in the last 1994 Broadway revival, 1946 and ran for 418 performances. Jan Clayton dramatic fashion. Lyrics have been rewritten, made her famous and in 1926 Show Boat was his new Ziegfeld Theatre in February of 1927. subsequent tryout stints in Pittsburgh and Kim became a Charleston dynamo, leading the (as Magnolia) got top billing. She had first app- songs dumped or added, scenes juggled and published to great critical acclaim as well as Hammerstein and Kern were capable of rapid Philadelphia, reducing it to a manageable three cast in a showstopping production number, set eared in Carousel and then went on to a film characters reconceived. huge popular sales. work, but they sensed this project could be hours by the time it opened in New York on to Why Do I love You?. career, although she’s best remembered today as This recording reflects three of the various One of the people to read it with particular something out of the ordinary and they 27 December. The audiences and critics alike The first eight selections here come from a the original mother on the Lassie TV series. versions of the score which have come down to interest was Jerome Kern. The successful encouraged Ziegfeld to fast-track something else, cheered it as ‘the best musical show ever 1932 studio recording on the Brunswick label. Carol Bruce, who sings Julie, enjoyed a us over the years since Show Boat opened on composer of such Broadway hits as “Sally” and which he did, backing a now-forgotten romp written’ and it ran an impressive (for that period) It features Helen Morgan, the original Julie from Broadway career for the next two decades, with Broadway on 27 December 1927. “Sunny” was always on the lookout for his next called Rio Rita. 572 performances. both the 1927 première and the 1932 revival shows like Do I Hear a Waltz? and Henry, Sweet Actually,the musical began its journey to project. Before he had finished more than a few This gave the authors time to dig deep into Since then it has been revived on Broadway with her signature performances of Bill and Henry to her credit, but for the remaining leads New York three and a half years earlier, with an chapters, he called up Oscar Hammerstein II, one their material and they produced one of the five times and been turned into a film on three Can’t Help Lovin’ Dat Man, as well as Paul – Charles Fredericks, Kenneth Spencer and appropriately theatrical setting. of his favourite collaborators, and told him he most mature and heartfelt works in all of musical occasions. (The first, in 1929, was a largely silent Robeson, who didn’t appear in the show until Collette Lyons – this production of Show Boat Author Edna Ferber was on the road with a had found their next vehicle. theatre. During a period when triviality trumped version, with a ‘prologue’ added at the last 1932, but quickly made Ol’ Man River his own would be the high point of their careers, with play of hers which was then called Old Man Hammerstein shared Kern’s enthusiasm for substance every time, Show Boat was a risky minute, featuring fifteen minutes of songs from forever. no subsequent New York stage appearances and Minick. After a spectacularly unsuccessfully the work and almost at once the pair of them proposition. the musical.) Also included on this recording are popular only a handful of minor film roles. première in New London, Connecticut, producer were outlining scenes and conceiving songs for Not only was it a weighty,unwieldy story, But every version has been different in vocalists of the period such as Countess Olga But whatever form they take, the music and Winthrop Ames tried to cheer up Ferber and the their proposed show. covering several generations and many locations, several interesting ways. The first line of the Albani, James Melton and Frank Munn. The lyrics of Show Boat continue to impress us, company with a whimsical notion. The only problem was that they didn’t have but the themes built into it were bound to be opening chorus was originally ‘Niggers all work orchestra is conducted by Victor Young, who nearly eighty years after their creation. ‘Next time,’he said,‘I won’t go out of town the rights to Ferber’s novel. controversial. One of the major plot twists on the Mississippi’. As the years went by,the went on to enjoy a distinguished career as a film Like “Ol’Man River”, it just keeps rollin’ along. with a show. I’ll just let it play on a show boat.’ Kern waited until the opening of his next hinged on the issue of interracial marriage at a offending word changed to ‘coloured folks’, then composer. ‘What’s a show boat?’ asked Ferber and show, Criss-Cross, on 12 October 1926. He time when the Ku Klux Klan was still a powerful ‘everyone’ and in one production during the When Show Boat was turned into a fully Richard Ouzounian history was made. forced his way across the lobby at intermission political force and lynch mobs were not height of America’s racial unrest in the 1960s, the Ames went on to explain to her that since to confront the larger-than-life critic Alexander uncommon in the Deep South. line was cut totally,leaving nobody to work on Cover image: The Mississippi in the Time of Peace, pub. by Currier and Ives, New York, 1865 (litho), Palmer, Frances shortly after the Civil War, large especially Woolcott, a good friend of Ferber’s. He begged But the authors stuck to their guns and the river. Flora Bond (Fanny) (c.1812-76) (after) / Museum of the City of New York, USA / www.bridgeman.co.uk
2 8.120789 3 8.120789 4 8.120789 120789bk Show Boat 15/4/05 11:10 PM Page 1
Woolcott to arrange a meeting, going on and on when Ziegfeld started to get cold feet, they called The other major problem has to do with the musical film in 1936, Kern and Hammerstein Show Boat about how he had to get the rights to Show his bluff, with Oscar’s uncle Arthur offering to ending. Kim, the daughter of long-suffering wanted to add an additional song for Paul 1932 Studio Album and 1946 Broadway Revival Boat. The waspish Woolcott let his friend pick up the production. heroine Magnolia Hawks, becomes a performer Robeson, so they created Ah Still Suits Me for exhaust himself before finally turning and intro- It finally opened in Washington, D.C. on of a new generation on the show boat. his character of Joe. In the film, it was sung by Music by Jerome Kern • Lyrics by Oscar Hammerstein II ducing him to his companion of the evening, 15 November 1927. Hammerstein was later to The original actress to play the role, Norma Robeson and Hattie McDaniel, who played Edna Ferber. say that the show ‘was born big and wants to Terris, was a skilled impersonator, and so she Queenie. It appears here in a 1936 studio Show Boat shares something with the Mississ- equipped riverboats had been sailing up and Fortunately,Ferber and Kern got along, as did stay that way’, but at first, it was just a little too was allowed to do her ‘party pieces’ at that point recording made with Elisabeth Welch, a stage ippi River so central to its story: it never flows down the Mississippi river, presenting comedies, Hammerstein when he was added to the huge for words. The opening performance ran in the show. By 1946, Kern and Hammerstein and cabaret star who left Broadway in the early the same way twice. melodramas and variety shows to the people in equation. The trio then aimed their sights on nearly five hours, with the dense plot slugging it realized they needed something different, so 1930s to settle in England. Perhaps more than any other work in the riverside towns. Florenz Ziegfeld, the most flamboyant producer out against Ziegfeld’s penchant for overwhelming they came up with Nobody Else But Me, The remaining selections are all from the modern theatre, Show Boat has varied with each Ferber instantly saw this as a setting for one on the theatrical scene. production values. which proved be to the last song Kern ever 1946 Broadway revival which opened 5 January new incarnation, due to changes in political or of those sweeping historical romances that had He, too, loved the idea and wanted it to open The authors began cutting through wrote. And in the last 1994 Broadway revival, 1946 and ran for 418 performances. Jan Clayton dramatic fashion. Lyrics have been rewritten, made her famous and in 1926 Show Boat was his new Ziegfeld Theatre in February of 1927. subsequent tryout stints in Pittsburgh and Kim became a Charleston dynamo, leading the (as Magnolia) got top billing. She had first app- songs dumped or added, scenes juggled and published to great critical acclaim as well as Hammerstein and Kern were capable of rapid Philadelphia, reducing it to a manageable three cast in a showstopping production number, set eared in Carousel and then went on to a film characters reconceived. huge popular sales. work, but they sensed this project could be hours by the time it opened in New York on to Why Do I love You?. career, although she’s best remembered today as This recording reflects three of the various One of the people to read it with particular something out of the ordinary and they 27 December. The audiences and critics alike The first eight selections here come from a the original mother on the Lassie TV series. versions of the score which have come down to interest was Jerome Kern. The successful encouraged Ziegfeld to fast-track something else, cheered it as ‘the best musical show ever 1932 studio recording on the Brunswick label. Carol Bruce, who sings Julie, enjoyed a us over the years since Show Boat opened on composer of such Broadway hits as “Sally” and which he did, backing a now-forgotten romp written’ and it ran an impressive (for that period) It features Helen Morgan, the original Julie from Broadway career for the next two decades, with Broadway on 27 December 1927. “Sunny” was always on the lookout for his next called Rio Rita. 572 performances. both the 1927 première and the 1932 revival shows like Do I Hear a Waltz? and Henry, Sweet Actually,the musical began its journey to project. Before he had finished more than a few This gave the authors time to dig deep into Since then it has been revived on Broadway with her signature performances of Bill and Henry to her credit, but for the remaining leads New York three and a half years earlier, with an chapters, he called up Oscar Hammerstein II, one their material and they produced one of the five times and been turned into a film on three Can’t Help Lovin’ Dat Man, as well as Paul – Charles Fredericks, Kenneth Spencer and appropriately theatrical setting. of his favourite collaborators, and told him he most mature and heartfelt works in all of musical occasions. (The first, in 1929, was a largely silent Robeson, who didn’t appear in the show until Collette Lyons – this production of Show Boat Author Edna Ferber was on the road with a had found their next vehicle. theatre. During a period when triviality trumped version, with a ‘prologue’ added at the last 1932, but quickly made Ol’ Man River his own would be the high point of their careers, with play of hers which was then called Old Man Hammerstein shared Kern’s enthusiasm for substance every time, Show Boat was a risky minute, featuring fifteen minutes of songs from forever. no subsequent New York stage appearances and Minick. After a spectacularly unsuccessfully the work and almost at once the pair of them proposition. the musical.) Also included on this recording are popular only a handful of minor film roles. première in New London, Connecticut, producer were outlining scenes and conceiving songs for Not only was it a weighty,unwieldy story, But every version has been different in vocalists of the period such as Countess Olga But whatever form they take, the music and Winthrop Ames tried to cheer up Ferber and the their proposed show. covering several generations and many locations, several interesting ways. The first line of the Albani, James Melton and Frank Munn. The lyrics of Show Boat continue to impress us, company with a whimsical notion. The only problem was that they didn’t have but the themes built into it were bound to be opening chorus was originally ‘Niggers all work orchestra is conducted by Victor Young, who nearly eighty years after their creation. ‘Next time,’he said,‘I won’t go out of town the rights to Ferber’s novel. controversial. One of the major plot twists on the Mississippi’. As the years went by,the went on to enjoy a distinguished career as a film Like “Ol’Man River”, it just keeps rollin’ along. with a show. I’ll just let it play on a show boat.’ Kern waited until the opening of his next hinged on the issue of interracial marriage at a offending word changed to ‘coloured folks’, then composer. ‘What’s a show boat?’ asked Ferber and show, Criss-Cross, on 12 October 1926. He time when the Ku Klux Klan was still a powerful ‘everyone’ and in one production during the When Show Boat was turned into a fully Richard Ouzounian history was made. forced his way across the lobby at intermission political force and lynch mobs were not height of America’s racial unrest in the 1960s, the Ames went on to explain to her that since to confront the larger-than-life critic Alexander uncommon in the Deep South. line was cut totally,leaving nobody to work on Cover image: The Mississippi in the Time of Peace, pub. by Currier and Ives, New York, 1865 (litho), Palmer, Frances shortly after the Civil War, large especially Woolcott, a good friend of Ferber’s. He begged But the authors stuck to their guns and the river. Flora Bond (Fanny) (c.1812-76) (after) / Museum of the City of New York, USA / www.bridgeman.co.uk
2 8.120789 3 8.120789 4 8.120789 120789bk Show Boat 15/4/05 11:10 PM Page 1
Woolcott to arrange a meeting, going on and on when Ziegfeld started to get cold feet, they called The other major problem has to do with the musical film in 1936, Kern and Hammerstein Show Boat about how he had to get the rights to Show his bluff, with Oscar’s uncle Arthur offering to ending. Kim, the daughter of long-suffering wanted to add an additional song for Paul 1932 Studio Album and 1946 Broadway Revival Boat. The waspish Woolcott let his friend pick up the production. heroine Magnolia Hawks, becomes a performer Robeson, so they created Ah Still Suits Me for exhaust himself before finally turning and intro- It finally opened in Washington, D.C. on of a new generation on the show boat. his character of Joe. In the film, it was sung by Music by Jerome Kern • Lyrics by Oscar Hammerstein II ducing him to his companion of the evening, 15 November 1927. Hammerstein was later to The original actress to play the role, Norma Robeson and Hattie McDaniel, who played Edna Ferber. say that the show ‘was born big and wants to Terris, was a skilled impersonator, and so she Queenie. It appears here in a 1936 studio Show Boat shares something with the Mississ- equipped riverboats had been sailing up and Fortunately,Ferber and Kern got along, as did stay that way’, but at first, it was just a little too was allowed to do her ‘party pieces’ at that point recording made with Elisabeth Welch, a stage ippi River so central to its story: it never flows down the Mississippi river, presenting comedies, Hammerstein when he was added to the huge for words. The opening performance ran in the show. By 1946, Kern and Hammerstein and cabaret star who left Broadway in the early the same way twice. melodramas and variety shows to the people in equation. The trio then aimed their sights on nearly five hours, with the dense plot slugging it realized they needed something different, so 1930s to settle in England. Perhaps more than any other work in the riverside towns. Florenz Ziegfeld, the most flamboyant producer out against Ziegfeld’s penchant for overwhelming they came up with Nobody Else But Me, The remaining selections are all from the modern theatre, Show Boat has varied with each Ferber instantly saw this as a setting for one on the theatrical scene. production values. which proved be to the last song Kern ever 1946 Broadway revival which opened 5 January new incarnation, due to changes in political or of those sweeping historical romances that had He, too, loved the idea and wanted it to open The authors began cutting through wrote. And in the last 1994 Broadway revival, 1946 and ran for 418 performances. Jan Clayton dramatic fashion. Lyrics have been rewritten, made her famous and in 1926 Show Boat was his new Ziegfeld Theatre in February of 1927. subsequent tryout stints in Pittsburgh and Kim became a Charleston dynamo, leading the (as Magnolia) got top billing. She had first app- songs dumped or added, scenes juggled and published to great critical acclaim as well as Hammerstein and Kern were capable of rapid Philadelphia, reducing it to a manageable three cast in a showstopping production number, set eared in Carousel and then went on to a film characters reconceived. huge popular sales. work, but they sensed this project could be hours by the time it opened in New York on to Why Do I love You?. career, although she’s best remembered today as This recording reflects three of the various One of the people to read it with particular something out of the ordinary and they 27 December. The audiences and critics alike The first eight selections here come from a the original mother on the Lassie TV series. versions of the score which have come down to interest was Jerome Kern. The successful encouraged Ziegfeld to fast-track something else, cheered it as ‘the best musical show ever 1932 studio recording on the Brunswick label. Carol Bruce, who sings Julie, enjoyed a us over the years since Show Boat opened on composer of such Broadway hits as “Sally” and which he did, backing a now-forgotten romp written’ and it ran an impressive (for that period) It features Helen Morgan, the original Julie from Broadway career for the next two decades, with Broadway on 27 December 1927. “Sunny” was always on the lookout for his next called Rio Rita. 572 performances. both the 1927 première and the 1932 revival shows like Do I Hear a Waltz? and Henry, Sweet Actually,the musical began its journey to project. Before he had finished more than a few This gave the authors time to dig deep into Since then it has been revived on Broadway with her signature performances of Bill and Henry to her credit, but for the remaining leads New York three and a half years earlier, with an chapters, he called up Oscar Hammerstein II, one their material and they produced one of the five times and been turned into a film on three Can’t Help Lovin’ Dat Man, as well as Paul – Charles Fredericks, Kenneth Spencer and appropriately theatrical setting. of his favourite collaborators, and told him he most mature and heartfelt works in all of musical occasions. (The first, in 1929, was a largely silent Robeson, who didn’t appear in the show until Collette Lyons – this production of Show Boat Author Edna Ferber was on the road with a had found their next vehicle. theatre. During a period when triviality trumped version, with a ‘prologue’ added at the last 1932, but quickly made Ol’ Man River his own would be the high point of their careers, with play of hers which was then called Old Man Hammerstein shared Kern’s enthusiasm for substance every time, Show Boat was a risky minute, featuring fifteen minutes of songs from forever. no subsequent New York stage appearances and Minick. After a spectacularly unsuccessfully the work and almost at once the pair of them proposition. the musical.) Also included on this recording are popular only a handful of minor film roles. première in New London, Connecticut, producer were outlining scenes and conceiving songs for Not only was it a weighty,unwieldy story, But every version has been different in vocalists of the period such as Countess Olga But whatever form they take, the music and Winthrop Ames tried to cheer up Ferber and the their proposed show. covering several generations and many locations, several interesting ways. The first line of the Albani, James Melton and Frank Munn. The lyrics of Show Boat continue to impress us, company with a whimsical notion. The only problem was that they didn’t have but the themes built into it were bound to be opening chorus was originally ‘Niggers all work orchestra is conducted by Victor Young, who nearly eighty years after their creation. ‘Next time,’he said,‘I won’t go out of town the rights to Ferber’s novel. controversial. One of the major plot twists on the Mississippi’. As the years went by,the went on to enjoy a distinguished career as a film Like “Ol’Man River”, it just keeps rollin’ along. with a show. I’ll just let it play on a show boat.’ Kern waited until the opening of his next hinged on the issue of interracial marriage at a offending word changed to ‘coloured folks’, then composer. ‘What’s a show boat?’ asked Ferber and show, Criss-Cross, on 12 October 1926. He time when the Ku Klux Klan was still a powerful ‘everyone’ and in one production during the When Show Boat was turned into a fully Richard Ouzounian history was made. forced his way across the lobby at intermission political force and lynch mobs were not height of America’s racial unrest in the 1960s, the Ames went on to explain to her that since to confront the larger-than-life critic Alexander uncommon in the Deep South. line was cut totally,leaving nobody to work on Cover image: The Mississippi in the Time of Peace, pub. by Currier and Ives, New York, 1865 (litho), Palmer, Frances shortly after the Civil War, large especially Woolcott, a good friend of Ferber’s. He begged But the authors stuck to their guns and the river. Flora Bond (Fanny) (c.1812-76) (after) / Museum of the City of New York, USA / www.bridgeman.co.uk
2 8.120789 3 8.120789 4 8.120789 120789bk Show Boat 15/4/05 11:10 PM Page 2
“Brunswick Presents 7. Why Do I Love You? 3:43 14. Can’t Help Lovin’ Dat Man 3:59 18. Bill 4:16 The Musical Romance” Countess Olga Albani & Frank Munn Carol Bruce, Helen Dowdy,Kenneth (P.G.Wodehouse–Oscar Hammerstein II– Show Boat (1932) Brunswick 20117, BX 12159-A Spencer & Chorus Jerome Kern) Recorded 9 August 1932 Carol Bruce 1. Overture 4:21 15. Life Upon The Wicked Stage 3:51 Victor Young & The Brunswick Concert 8. Finale 4:09 Colette Lyons & Chorus 19. Nobody Else But Me 4:05 Orchestra & Chorus Victor Young & The Brunswick Concert 16. You Are Love 4:26 Jan Clayton & Chorus Brunswick 20114, BX 12230-A Orchestra with Vocal Chorus Charles Fredericks & Jan Clayton Tracks 10–19 recorded in New York on Recorded 20 August 1932 Brunswick 20117, BX 12231-A 11 & 14 February 1946 with Show Boat Recorded 26 August 1932 17. Why Do I Love You 3:14 2. Ol’ Man River 3:59 Jan Clayton, Charles Fredericks & Chorus Orchestra conducted by Edwin MacArthur. Paul Robeson All recorded in New York with Victor Columbia 71757/61-D in Album MM 611, Brunswick 20114, BX 12096-A Young & The Brunswick Concert Orchestra mx XCO35831/40 Issued as Brunswick Album 38 Recorded 21 July 1932 All items Jerome Kern–Oscar Hammerstein II except where noted 3. Bill 3:56 Show Boat Transfers & Production: David Lennick • Digital Restoration: Graham Newton (P.G.Wodehouse–Oscar Hammerstein II– Studio Recording after 1936 film Jerome Kern) 9. Ah Still Suits Me 2:51 Helen Morgan with Louis Alter, piano Paul Robeson & Elisabeth Welch with Also available in the Naxos Broadway Musicals series ... Brunswick 20115, BX 12161-A orchestra conducted by Clifford Greenwood Recorded 9 August 1932 HMV B 8497, 0EA 2936 4. Can’t Help Lovin’ Dat Man 3:40 Recorded 18 May 1936, London Helen Morgan with Louis Alter, piano Brunswick 20115, BX 12162-A Show Boat Recorded 9 August 1932 1946 Broadway Revival 5. You Are Love 4:37 10. Overture 4:22 James Melton (Jerome Kern, arr. Robert Russell Bennett) Brunswick 20116, BX 12094-A Orchestra Recorded 20 July 1932 11. Cotton Blossom 3:21 6. Make-Believe 4:09 Show Boat Chorus & Orchestra 8.120786 8.120787 8.120788 James Melton 12. Only Make Believe 3:57 Brunswick 20116, BX 12160-A Charles Fredericks & Jan Clayton These titles are not available in the U.S.A. Recorded 9 August 1932 13. Ol’ Man River 4:17 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Kenneth Spencer & Chorus NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120789 6 8.120789 120789bk Show Boat 15/4/05 11:10 PM Page 2
“Brunswick Presents 7. Why Do I Love You? 3:43 14. Can’t Help Lovin’ Dat Man 3:59 18. Bill 4:16 The Musical Romance” Countess Olga Albani & Frank Munn Carol Bruce, Helen Dowdy,Kenneth (P.G.Wodehouse–Oscar Hammerstein II– Show Boat (1932) Brunswick 20117, BX 12159-A Spencer & Chorus Jerome Kern) Recorded 9 August 1932 Carol Bruce 1. Overture 4:21 15. Life Upon The Wicked Stage 3:51 Victor Young & The Brunswick Concert 8. Finale 4:09 Colette Lyons & Chorus 19. Nobody Else But Me 4:05 Orchestra & Chorus Victor Young & The Brunswick Concert 16. You Are Love 4:26 Jan Clayton & Chorus Brunswick 20114, BX 12230-A Orchestra with Vocal Chorus Charles Fredericks & Jan Clayton Tracks 10–19 recorded in New York on Recorded 20 August 1932 Brunswick 20117, BX 12231-A 11 & 14 February 1946 with Show Boat Recorded 26 August 1932 17. Why Do I Love You 3:14 2. Ol’ Man River 3:59 Jan Clayton, Charles Fredericks & Chorus Orchestra conducted by Edwin MacArthur. Paul Robeson All recorded in New York with Victor Columbia 71757/61-D in Album MM 611, Brunswick 20114, BX 12096-A Young & The Brunswick Concert Orchestra mx XCO35831/40 Issued as Brunswick Album 38 Recorded 21 July 1932 All items Jerome Kern–Oscar Hammerstein II except where noted 3. Bill 3:56 Show Boat Transfers & Production: David Lennick • Digital Restoration: Graham Newton (P.G.Wodehouse–Oscar Hammerstein II– Studio Recording after 1936 film Jerome Kern) 9. Ah Still Suits Me 2:51 Helen Morgan with Louis Alter, piano Paul Robeson & Elisabeth Welch with Also available in the Naxos Broadway Musicals series ... Brunswick 20115, BX 12161-A orchestra conducted by Clifford Greenwood Recorded 9 August 1932 HMV B 8497, 0EA 2936 4. Can’t Help Lovin’ Dat Man 3:40 Recorded 18 May 1936, London Helen Morgan with Louis Alter, piano Brunswick 20115, BX 12162-A Show Boat Recorded 9 August 1932 1946 Broadway Revival 5. You Are Love 4:37 10. Overture 4:22 James Melton (Jerome Kern, arr. Robert Russell Bennett) Brunswick 20116, BX 12094-A Orchestra Recorded 20 July 1932 11. Cotton Blossom 3:21 6. Make-Believe 4:09 Show Boat Chorus & Orchestra 8.120786 8.120787 8.120788 James Melton 12. Only Make Believe 3:57 Brunswick 20116, BX 12160-A Charles Fredericks & Jan Clayton These titles are not available in the U.S.A. Recorded 9 August 1932 13. Ol’ Man River 4:17 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Kenneth Spencer & Chorus NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120789 6 8.120789 SHOW BOAT 8.120789 HWBOAT SHOW www. NOTES ANDFULLRECORDING DETAILS INCLUDED Graham Newton Restoration: Digital DavidLennick Transfers and Production: h Elisabeth Welch Paul Robeson C S Helen Morgan Paul Robeson Countess OlgaAlbani Frank Munn James Melton C S .Finale 8. WhyDoILoveYou? 7. Make-Believe 6. You Love Are 5. Can’tHelpLovin’DatMan 4. Bill 3. Ol’ManRiver 2. Overture 1. .AhStillSuits Me 9. TUDIO TUDIO ONDUCTOR ONDUCTOR & g 05NxsRgt nentoa t.Dsg:RonHoares Design: Ltd. 2005 NaxosRightsInternational J naxos.com ULIE R A 4:09 3:56 LBUM ECORDING 4:21 C V ICTOR LIFFORD G G G J G J AYLORD J OE OE J OE AYLORD AYLORD ULIE AYLORD Q 1932 J OE 3:59 UEENIE Y L & Q A R M OUNG V G 4:09 AVENAL R 4:37 AGNOLIA ERNE 1936 M AVENAL REENWOOD UEENIE AGNOLIA J ULIE ( TRACK & G ( 2:51 TRACKS 3:40 H AYLORD AWKS 7) Made inCanada 5& 6) 3:43 Total Time:76:04 9 NobodyElseButMe 19. Bill 18. WhyDoILoveYou 17. You Love Are 16. LifeUponTheWicked Stage 15. Can’tHelpLovin’DatMan 14. Ol’ManRiver 13. OnlyMakeBelieve 12. CottonBlossom 11. Overture 10. Colette Lyons Helen Dowdy Bruce Carol Kenneth Spencer Jan Clayton Charles Fredericks C B byOscarHammersteinII Lyrics Kern Music byJerome ONDUCTOR ROADWAY J OE 3:59 J ULIE 8.120789 4:16 E 4:22 M R J DWIN ULIE AGNOLIA EVIVAL E Q G LLIE J UEENIE OE AYLORD L A C V J M HORUS 4:17 OE ERNE G G H M AC AYLORD K AYLORD AWKS & M AGNOLIA IM 1946 A 3:21 RTHUR 4:05 AGNOLIA & K & M J R ULIE & G E AVENAL LLIE IM AGNOLIA ,Q AYLORD 4:26 UEENIE 3:51
ADD
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SHOW BOAT SHOW 8.120789