‘S GREAT SONGS =. 1938 | oo 1944 MOTION PICTURES cones

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PICCOLO, FLUTE, ALTO FLUTE, OBOE, ENGLISH HORN, CLARINET, PERSONNEL AND INSTRUMENTATION BASS CLARINET, ALTO, TENOR AND BARITONE SAXOPHONES USED IN THE RECORDING OF Phil Bodner GREAT SONGS FROM MOTION PICTURES Sid Cooper Walt Levinsky VOL. 1 1927-1937 /VOL. 2 1938-1944 / VOL. 3 1945-1960 Boomie Richman Stan Webb TRUMPETS VIOLINS Joe Caiani Mark Brown Mel Davis Mac Ceppos Jimmy Sedler Arnold Eidus Doc Severensen Max Hollander FRENCH HORNS Harry Katzman Ray Alonge Leo Kruczek Johnny Barrows Walter Legawiec James Buffington Joe Malin TROMBONE AND BASS Harry Melnikoff TROMBONE . Sam Rand Urbie Green Aaron Rosand Dick Hixon Al Rudnitsky Thomas Mitchell Harry Urbont LG els VTE RSS Paul Winter BASS George Duvivier VIOLAS Richard Dickler GUITAR AND BASS GUITAR Howard Kay Don Arnone Walter Trampler Al Caiola Isadore Zir Bucky Pizzarelli CELLI Mr. ‘‘X” Seymour Barab DRUMS AND PERCUSSION Other Volumes in GREAT SONGS FROM MOTION PICTURES Maurice Brown Osie Johnson VOL.WAts) a aol | | = Alan Shulman Phil Kraus ie GREAT SONGS im 8 3 Lucien Schmidt HARP 1927 RECORDS TNS: David Soyer Gloria Agostini 1937 | — 1960 ARRANGED and CONDUCTED by HUGO MONTENEGRO 3 | a me PLAY CHECKED CUTS - [my MAMMY TOP HAT, WHITE TIE AND a TT MIGHT AS WELL BE SPRING JMET ary 1.9 acct ONLY . CHEEK TO CHEEK YOU WERE MEANT FOR ME ibe ) CHEEK YE THREE a COINS IN THE FOUNTAIN rtuist ee and hepe¢ SIDE 1 SIDE 2 : —_— —— eee HE FOUNTAIN Original and Ri cul Ss 1 | SINGIN IN THE RAIN 1 IN THE MOOD FOR IT’S A MOST UNUSUAL DAY Cut 2 | ae a vecor vou wenn sin MAM’SELLE Mastering cut 3 ' — — J | — THEME FROM PICNIC Liner Notes Cut [ PLEASE | Trae way You LOOK rostcaT > BUTTON : 4 Cut : 4 A FOGGY DAY aa SOE anal rebum Fe : cut 5_ UF cut 5 , ; — GIGI Album Design. Cut 6 vy, Cut 6 THEY CANT TAKE THAT AWAY FROM WE oe HIGH NOON Typography : a | [THAT : OLD FEELING ] | SONG FROM MOULIN ROUGE Rover EXODUS Series 2000 - TIME REE

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1939 title, though very little music, for this film starring Eleanor sparked the eight-to-the-bar (‘‘boogie woogie’’) popularity of the early Forties associated with the Will Bradley Orches- Powell, Ann Sothern and Robert Young. Interpolated into tra. Such popularity did not go unnoticed by Hollywood The popularity of the team of the score was a song inspired by the fall of Paris to the 1938 and Shirley Ross and of the song ‘‘Thanks For and Raye and DePaul were called to the Coast to write Germans. Lyricist Oscar Hammerstein II was affected by | songs for films. The Memory,’’ encouraged the production of another film the tragedy of World War Il—this was pre-Pearl Harbor— employing the team and the song title. The popular duet and composed a poem about the death of a city. He sent it 1944 MOTION PICTURES this time around was ‘‘,’’ with lyrics by to his frequent collaborator Jerome Kern who composed 1944 Frank Loesser and melody by Hoagy Carmichael. its bitter-sweet melody. ‘‘The Last Time | Saw Paris’’ was COVER GIRL One of the best of the wartime film musicals worked into Lady Be Good, affectingly sung by Ann Sothern, was. Cover Girl which not only united such sure-fire stars THE WIZARD OF OZ This film has proved over the years and was chosen the Academy Award song of the year. to be one of the great movie classics because of its wonder- as Rita Hayworth and Gene Kelly, but also the equally sure- ful characterizations by Judy Garland, Bert Lahr, Ray Bol- fire tunesmiths Jerome Kern and Ira Gershwin. The result, ARRANGED and CONDUCTED by HUGO MONTENEGRO 1942 produced by another great songwriter Arthur Schwartz, was ger and other members of a remarkable cast. Not the least a most successful and hauntingly melodic movie. Cover of The Wizard’s assets are the songs by Harold Arlen and ORCHESTRA WIVES Another musical featuring the popu- Girl afforded an interesting glimpse behind the scenes of E. Y. Harburg, both of whom had been moving gracefully lar band of Glenn Miller from which came one of the most the model profession, at the same time set up ample op- between Broadway and Hollywood and turning out fine popular songs of the war years, ‘‘At Last.’’ The composers portunities for song-and-dance numbers. The master song songs for both. The songs for The Wizard of Oz are superior were the always reliable Mack Gordon (lyrics) and Harry writers had supplied excellent songs for the score, though By the late Thirties the remarkable cycle of film musicals in every way; musically they are fashioned with the unique Warren (music). The latter, one of the most prolific and one tentatively titled ‘‘Midnight Music,’’ while it pleased inspired by the brilliant song and dance team of Fred skill that is the Harold Arlen trademark, and lyrically they sucessful of all composers for films, recipient of several Kern lyrically, did not seem to perfectionist Gershwin to Astaire and Ginger Rogers had pretty much run its course. are sparkling and impudent in the ‘“‘Yip’’ Harburg tradition. Academy Awards, was one of the earliest ‘‘settlers’’ in have the lyric he wanted. When time came for the recording The vogue for the glittering, smart, wise-cracking musicals Certainly one of the screen’s most memorable moments is Hollywood. Warren moved to Hollywood in the early Thirties session for that number Producer Schwartz called lyricist associated with the team’s name so popular during the the singing of ‘‘Over The Rainbow’’ by Judy Garland. Curi- and has remained ever since writing songs for Eddie Can- Gershwin just checking to see if the latter had another years of the depression did not carry over into the years of ously this song was deleted from the film three times after tor, Dick Powell, Al Jolson, Alice Faye, Fred Astaire, Judy idea for the ballad. From his pile of worksheets Gershwin gathering war clouds. The Astaire-Rogers musicals, how- prevues because it was thought that it held up the picture. Garland—literally a Who’s Who of Hollywood’s musical found yet another lyrical idea which he dictated to Schwartz ever, had made their mark not only because of the superi- Finally, argued back into the film for the final print, ‘‘Over elite. ority of the songs, but also because of style of dancing The Rainbow’’ went on, ironically, to win the Academy over the phone. By now tired of the job, Gershwin was happy just to have it over. Needless to say the much they had introduced, the breezy, youthful, carefree person- Award. THE FLEET’S IN Service pictures became a Hollywood worked-over song, in its newest variant was ‘‘Long Ago And alities the stars projected, and because of the great ad- staple during the early Forties, for the film capital reflected Far Away,’’ one of the best remembered songs from Cover vances in film technique used in musicals. All musical flims 1941 the mood of the nation and the times. Jimmy Dorsey and Girl. It was, of course, sung by Gene Kelly and also served that followed were better because of the Astaire-Rogers his Orchestra were heard in this naval musical, aS was as the instrumental background for the remarkable ‘‘Shad- films. SUN VALLEY SERENADE Hollywood musicals tend to Betty Hutton. The songs were graced with lyrics by Johnny ow Dance,” the dance highlight of the film. come in clusters of films on a similar theme. During the Mercer, a singer turned songwriter and music by Victor early years of the film musical there were the back stage Schertzinger, a Hollywood veteran who not only scored 1938 GOING MY WAY proved he was an actor as stories such as the Broadway Melody and the Gold Digger pictures but also directed them—as he did The Fleet’s In. ‘ well as a crooner in this film about an easy-going priest, a GOLDWYN FOLLIES After the comparative simplicity of the series, or musicals with college backgrounds. Any back- The writers turned in an excellent score from which came films they had written for Fred Astaire, George and Ira ground would do if it happened to catch the public fancy film which ended up sweeping the Academy Awards that the outstanding ‘‘Tangerine’’ and the wistful ‘‘l| Remember year. Bing Crosby was dubbed ‘‘Best Actor,’’ Barry Fitz- Gershwin found themselves at work on a Goldwyn extrava- and if music could somehow be worked into the plot. You.” ganza. Its cast ranged from the Ritz Brothers to opera star Toward the end of the Thirties Hollywood discovered the gerald, ‘‘Best Supporting Actor,’’ the screenplay, the di- Helen Jepson, from comedian Bobby Clark to ballerina great swing bands—the so called ‘‘name’’ bands whose 1943 rection, the original story—all were accoladed with Oscars. Zorina. Unfortunately, it was not a very good film and, trag- stylings and music were as typical of America of the Thirties And voted best song of the year was the sprightly song, ically, it was George Gershwin’s final work. Before complet- as was jazz in the Twenties. Glenn Miller and his orchestra SLEEPY LAGOON For a Judy Canova comedy the studios lyrics by Johnny Burke, music by Jimmy Van Heusen, titled ing the songs for the Goldwyn Follies he had died of a appeared in Sun Valley Serenade. The stars were the dimin- borrowed a popular instrumental by the English composer ‘Swinging On A Star.’’ Burke and Van Heusen had been brain tumor. That he was seriously ill was not evident in the utive ice skater Sonja Henie and John Payne. Two of Eric Coates, ‘‘Sleepy Lagoon,’’ added lyrics and made a supplying Bing Crosby with top songs for the series of Road JEROME KERN and IRA GERSHWIN quality of the songs composed for the film, especially in Hollywood’s most able songwriters, Mack Gordon and popular song of it. The evocative words were penned by pictures made with Bob Hope. Their work on Going My ‘‘Love Is Here To Stay’”’ the last song completed by Gersh- Harry Warren, supplied the songs for the film, one of which lyricist Jack Lawrence, although Coates so skillfully cap- Way was just the culmination of a rich collaboration. win before his death. Revived in another musical, the excel- became one of the Miller Orchestra’s most requested num- tured the languid glamor of the tropics in his original in- lent An American in Paris (1950), ‘‘Love Is Here To Stay’’ bers, ‘‘Chattanooga Choo Choo.”’ Also heard was the pop- strumental composition that no further description of it is MEET ME IN ST. LOUIS One of the best of the nostalgic proved popular a generation after the composer's death. ular ballad, “‘l Know Why.” required besides the title—and the melody itself. movies devoted to Americana was Meet Me In St. Louis, which starred Judy Garland and had a superior score by THE BIG BROADCAST OF 1938 An ex-Broadway comedian BABES ON BROADWAY The success of Babes in Arms | DOOD IT Red Skelton, a youthful veteran of burlesque Hugh Martin and Ralph Blane. Martin and Blane were spent two not very fruitful years in Hollywood appearing in (1939) and the team of Judy Garland and Mickey Rooney captured the nation’s attention with the exploits of his young singers who composed the score for a hit Broadway short comedies. His first full-length film was The Big resulted in the sequel, Babes On Broadway. The songs radio creation, ‘‘the mean little kid.’”’ Inevitably the kid’s musical, Best Foot Forward, which became an equally suc- Broadcast in which he sang a duet with Shirley Ross, were contributed by several composers with the outstand- tag line became the title of a film starring Red: Skelton, as cessful film. The special quality that Martin and Blane ‘‘Thanks For The Memory,’’ composed by and ing one being ‘‘How About You?’’ by Burton Lane (music) well as Lena Horne and Eleanor Powell. No one composer were able to capture and project was youthfulness, its . The song was properly recognized with the and Ralph Freed (lyrics). supplied the score, but one of the best songs was the lyrical longing, its uncertainty. Possibly this has not been Cories 2000 romantic ‘‘Star Eyes’’ by a new young songwriting team, done any better than it was in the lovely ballad, ‘‘The Boy year’s Academy Award—and, of course, the comedian was also duly recognized as Bob Hope. LADY BE GOOD A 1924 Gershwin musical furnished the Don Raye and Gene DePaul, who had, together and singly, Next Door,’’ written for Judy Garland. i Cories ZOOO s RTTAY YY,

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