"Accordiorama." Hohner Accordion size closeups of the soloists, there are too Symphony Orchestra, Rudolf Würth- many annoying terminal fade-outs, and ner, cond. Vanguard VTC 1645, 52 the tape processing is only so- so-but the min., $7.95. catchy beat and infectious gusto of Dean Last Aprii's disc version bewitched me, and his accompanists are quite irresistible and I'm still as impressed as ever. This in the title song, Smoke Smoke Smoke. remarkable ensemble's tautly controlled, Night Train to Memphis, and the exu- symphonically sonorous performances of berant I Won't Go Huntin' with You familiar light classics (William Tell Jake (but I'll Go Chasin' Wimmen!). Overture, Invitation to the Dance, Hun- Even the corny recitations (to a distant garian Rhapsody No. 2, etc.) sound cornet in Oklahoma Bill, a harmonium just as good in rehearing. Even the solo- and humming chorus in Grasshopper ists (accordionist Karl Perenthaler in an MacClain and To a Sleeping Beauty) are other familiar tunes make his Gallic - arrangement of Paganini's Campanella unique examples of the purest tear -jerk American idioms deliciously palatable and Günther Wertz in a harmonica genre. even to listeners whose teeth are normally transcription of Hora Staccato) reveal set on edge by "modern" music; and considerably more than mere flashy "The Bridge." Sonny Rollins and Co. these two documentary film scores (quite virtuosity. Happily, too, the taping RCA Victor FTP 1140, 41 min., $7.95. apart from their historical interest) rank matches the stereo disc exactly in its In what is sure to be one of the most high among his most delightful works. reproduction of the extraordinary timbre J hotly discussed avant -garde jazz releases Stokowski plays them beautifully, if and dynamic range commanded by these of the year. Rollins triumphantly returns rather more seriously than their frequent artists. from his self- imposed two -year sabbatical tongue -in -cheek humor warrants, and the with matured inventiveness and virtuosic felicities of the light but always spicy Mantovani and His his oddly distinctive tenor sax admirably captured "American Waltzes." control of instrumentation are Orchestra. London LPM 70051, 37 tones -admirably contrasted here in an- in Vanguard's transparent stereoism. rhapsodic improvisations with seems well processed, but min.. $6.95. tiphonal The tape itself The juiciest Mantovanian treatments of the warmer resonances of Jim Hall's co- in the quietest passages it is not entirely by opu- some noise long -time waltz favorites. aided starred guitar. I can't claim to dig free from some background - recording and flawless proc- of the more unusual ostinatos and ec- although this may have been inherent in lently lush may we essing, should ensure that this tape's centric starts -and -stops, and often it the master itself. Now, please, is as rapid on other film score, climb on the best -seller lists seems that some of the soliloquies go soon have Thomson's recent disc edition. Par- and on after having made their point. for The Louisiana Story? as that of the that ticularly effective are The Whiffenpoof Yet the sheer prodigality of original ideas Song. Let Me Call You Sweetheart, and the assured control of the materials VERDI: Rigoletto Sweetheart of Sigma Chi, and the more are consistently fascinating -not only in piquantly vivacious Sidewalks of New Rollins' own weird title piece and the ex- Joan Sutherland (s), Gilda; Maria Fiori York, Meet Me in St. Louis, and Clem- citing John S., but also in the far -out (s), A Page; Stefania Malagù (ms), entine. arrangements of more familiar works: Maddalena; Anna di Stasio (ms), Gio- notably a nostalgic Where Are You? and Countess Ce- vanna; Luisa Valle (ms), "Joe Basile's Paris." Joe Basile, accor- an even more poignantly atmospheric prano; Renato Cioni (t), Duke; Angelo Audio Fidelity God Bless the Child. There is more chan- Borsa; Cornell MacNeil dion. and Orchestra. Mercuriali (t), AFST 1955. 33 min.. $8.95. nel separation than usual in the stereo - (b), Rigoletto; Giuseppe Morresi (b), ism, but this further dramatizes the in- Sparafucile; "The Best of the Dukes of Dixieland" Marullo; Cesare Siepi (bs), (Anthology). Audio Fidelity AFST terplays between sax and guitar. while Fernando Corena (bs), Monterone; Giu- the crispness of the occasional machine- Ceprano. Chorus 1962, 41 min.. $8.95. lio Corti (bs), Count The Audio Fidelity pops series has lost gun traps (Ben Riley or H. T. Saunders) and Orchestra of Accademia di Santa or scintillant and the vibrancy of the bass solos (Bob Sanzogno, cond. none of its brash vitality Cecilia (Rome), Nino technical qualities. Musically, however, Cranshaw) testify to the recording's LONDON LOG 90044. Two reels: ap- are pretty conven- sonic authenticity. 9.95. the present programs prox. 59 and 65 min. $1 tional. Basile's bed nuisette accordion and little ensemble are augmented by a To anyone who insists on a genuinely "Experiment in Terror." Henry Mancini large string section. in effective if some- His Orchestra. RCA Victor FTP complete Rigoletto and can tolerate a of and interpreta- what unimaginative arrangements 1146, 31 min., $7.95. polite, almost drawing -room songs (for the most part), of (first) tape Parisian Although I saw the film, Mancini's score tive approach. the present only a richly atmospheric En version has much to offer: not least, which accentuated its melodrama so unobtru- écoulant mon coeur chanter, a pastoral - the music stuck in my some of the most attractive young voices Vous sively that none of ish Till, and a rather sentimental mind. It is only now, hearing these pow- of our day, beautifully expansive stereo voir strike me as tape process- que passe, .cans me erfully recorded studio orchestra (not recording, and immaculate ranking with the best Basile perform- ing. But let's face it: what Verdi in- film track) excerpts, that I can better musical ances in the past. appreciate Mancini's powers of evoking tended -and achieved -is a The Dukes' anthology. drawn from melodrama to wring one's heart and an atmosphere of terror in -and under - various earlier releases in their long se- and ballpark make one's blood run cold. For me, cross his various twist, barroom, as ries. provides a characteristic episodes. I doubt if the music alone will only Siepi as Sparafucile and Corena the repertory that made them is demanded section of stand up as well for those who haven't Monterone understand what it is of particular value now an almost somnam- famous. and seen the film, but certainly the eerie ex- here -certainly not that the band itself utilizes a quite differ- bulistic Sutherland as Gilda. nor a grace- ploitations of autoharp timbres and ent rhythm section and is appearing on be fully boyish Cioni as the Duke, nor an my im- heavy organ or wind pedalpoints will another label. It also reinforces interesting to odd -sound fan- overly bland MacNeil in the title role. that the earlier recordings boast extremely he gives no hint pression ciers, and, in the atmospheric Nancy, As for the conductor. an uninhibited gusto seldom matched in of comprehending the interpretative de- tape proc- Mancini well may have a hit to rival the later ones. The high level Moon River. mands. and seems content to follow if any, of the original Peter Gunn and even in essings lose little. rather than lead his singers. discs' celebrated brilliance. but unfor- their more wayward moments. I am a few slight intrusions of "George Greeley Plays George Gersh- some tunately admit not as seriously disturbed as reverse -channel spill -over and preëcho. win." George Greeley. piano; Orches- critics by the use of "sonic stage" tech- tra. Warner Brothers WSTC 1451, 34 being niques here, since they strike me as and min., $7.95. most part with consid- "Big Bad John and Other Songs handled for the Dean with vocal and in- "Maria." Roger Williams. piano; Orches- erable discretion and effectiveness: but Tales." Jimmy and Frank trumental ensemble. Columbia CQ tra, Ralph Carmichael I must agree that in the present case, Hunter. conds. Kapp KTL 41041, 36 where the vocal appeal dominates so 452, 31 min., $6.95. the late Johnny Horton's min., $7.95. completely over the appeal of the drama, Not since professes "Makes History" disc have I found any- The Gershwin devotion Greeley the soloists might well have been given in his program notes is jarringly contra- vis -à -vis the orchestra thing in the "country" and "rockabilly" more prominence as this collection of dicted by his cavalier treatment of some and chorus. particularly in their principal lists as distinctive cut and jukebox hits featuring the robust singing of the works here: a brutally arias. But the lack of sheer theatrical dispirited Rhapsody in Blue and Ameri- to me a weakness for and unabashedly sentimental recitations excitement seems - can in Paris; a Prelude No. 1 which is voices and sonic tech- of "pomes" by Jimmy Dean. The full which the finest indulges in overlife- well enough played as far as the pianism nology can never properly compensate. blooded recording HIGH FIDELITY MAGAZINE 140