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1. Minnie The Moocher 2:56 8. Civilization (Bongo Bongo Bongo) 14. I’ve Got A Lovely Bunch of 19. The King’s New Clothes 3:36 (Cab Calloway–Irving Mills–Clarence Gaskill) 3:05 Cocoanuts 2:30 From Hans Christian Anderson Orchestra & chorus cond. Maurice Abravanel (Bob Hilliard–Carl Sigman) (Fred Heatherton) (Frank Loesser) Columbia 36582, mx CO 30407-2 With the Andrews Sisters; orchestra cond. With the Harmonaires; orchestra cond. Orchestra & chorus cond. Gordon Jenkins Recorded 5 May 1941, New York Vic Schoen Vic Schoen Decca 28382, mx WL 6858-A 2. Anatole of Paris 3:00 Decca 23940, mx WL 4508-A Decca 24784, mx WL 5144-A Recorded 11 August 1952, Los Angeles (Sylvia Fine) Recorded 27 September 1947, Los Angeles Recorded 2 October 1949, Los Angeles 20. Tschaikovsky 0:51 Orchestra cond. Johnny Green 9. Triplets 2:15 15. The Peony Bush 3:08 From Lady In The Dark Columbia 36583, mx CO 32301-1 (Arthur Schwartz–Howard Dietz) (Meredith Willson) (Kurt Weill–Ira Gershwin) Recorded 23 January 1942, New York Orchestra cond. Johnny Green Orchestra cond.Vic Schoen Orchestra & chorus cond.Vic Schoen 3. The Fairy Pipers 2:02 Decca 24745, mx WL 4665-A Decca 24784, mx WL 5145-A Decca 28562, mx WL 6966-A (part) (Fred. E.Weatherly–A. Herbert Brewer) Recorded 14 December 1947, Los Angeles Recorded 2 October 1949, Los Angeles Recorded 20 December 1952, Los Angeles Piano solo & orchestra cond. Johnny Green 10. Ballin’The Jack 2:24 16. How D’Ye Do And Shake Hands 2:54 Transfers & Production: David Lennick Columbia 36584, mx CO 32169-1 (Chris Smith–Jim Burris) (Cy Coben–Oliver Wallace) Recorded 9 January 1942, New York Orchestra cond. Johnny Green With Jimmy Durante, Jane Wyman, Groucho Digital Noise Reduction: Graham Newton 4. The Babbitt And The Bromide 2:39 Decca 24401, mx WL 4693 Marx and 4 Hits & A Miss;orchestra cond. (George & Ira Gershwin) Recorded 18 December 1947, Los Angeles Sonny Burke Also available ... Orchestra cond. Johnny Green 11. The Moon Is Your Pillow 3:04 Decca 27748, mx WL 6388-A Columbia 36584, mx CO 32300-1 (Michel Emer–Sammy Gallop) Recorded 12 August 1951, Los Angeles Recorded 23 January 1942, New York Orchestra cond. Johnny Green 17. Black Strap Molasses 2:40 5. Eileen 3:29 Decca 24747, mx WL 4704-A (Carmine Ennis–Marilou Harrington) (Sylvia Fine–Max Liebman) Recorded 19 December 1947, Los Angeles With Jimmy Durante, Jane Wyman, Groucho Orchestra & chorus cond. Johnny Green 12. The Big Brass Band From Brazil Marx and 4 Hits & A Miss;orchestra cond. Columbia 36585, mx CO 32299-1 3:05 Sonny Burke Recorded 23 January 1942, New York (Bob Hilliard–Carl Sigman) Decca 27748, mx WL 6389-A Recorded 12 August 1951, Los Angeles 6. Dinah 2:41 With the Andrews Sisters; orchestra cond. (Sam Lewis–Joe Young-Harry Akst) Vic Schoen 18. Inchworm 3:17 Orchestra cond. Maurice Abravanel Decca 24361, mx WL 4705-A From Hans Christian Anderson Columbia 36585, mx CO 29994-3 Recorded 20 December 1947, Los Angeles (Frank Loesser) Recorded 5 May 1941, New York 13. Lobby Number 6:01 Orchestra & chorus cond. Gordon Jenkins Decca 28381, mx WL 6859-A 8.120715 7. Bloop Bleep 2:43 From Up In Arms (Sylvia Fine–Max Liebman) Recorded 12 August 1952, Los Angeles (Frank Loesser) * Not Available in the U.S. 8.120679* Orchestra cond. Billy May Orchestra cond. Johnny Green Decca 23950, mx WL 4419-A Decca 24744, mx WL 4709-A,4710-A Recorded 7 May 1947, Los Angeles Recorded 20 December 1947, Los Angeles NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120775 6 8.120775 120775bk DannyKaye 10/6/04 3:32 PM Page 1
popular in his American stage shows but the names of 49 Russian composers in 38 series of films capitalizing on his extraordinary and versatility of Danny Kaye as a recording DANNY KAYE! audiences in Asia initially did not understand seconds. Gershwin took the names from the likeability,including The Court Jester, The artist. For every nutty song like The Fairy Original 1941-52 Recordings Kaye’s irreverence. Danny recorded Dinah, back covers of piano music in his brother’s Inspector General, and White Christmas. Many Pipers or Triplets, there was a tender ballad, mispronunciations and all, at his first recording collection. He included two ringers: Russian-born of these movies showcased his versatility by such as The Moon is Your Pillow or the lovely The recordings on this CD begin in the early from Yiddish songs such as “Rumania,Rumania,” session for Columbia in May 1941 (he would later songwriter Vernon Duke, whose real name was having him play dual roles or split personalities; Irish-sounding Eileen. Kaye even does a couple 1940s when Danny Kaye was still refining his act as performed by Aaron Lebedoff. Kaye’s mentor name his daughter Dena after the song). Vladimir Dukelsky,and Joseph Rumshinsky,a usually an austere macho hero vs. a cowardly of turns in a quartet featuring two other scene- and making his debut on Broadway. By the time at White Roe,Nat Lichtman, taught him how to Eventually,Kaye became so proficient at high writer in the Yiddish Theatre. Kaye’s performance twit. In addition, his knack for connecting with stealers (Jimmy Durante and Groucho Marx) and the last tracks were recorded in 1952, Kaye had use his body,his face, and his hands to augment speed double-talking, that it threatened to type- of Tschaikovsky became a showstopper. He children was best displayed in the 1952 film actress Jane Wyman (Black Strap Molasses and become an internationally famous movie star, his comedic delivery,even teaching Kaye to cast him. Almost in self-defence, he strengthened was so sensational that Gertrude Lawrence, a Hans Christian Andersen, which featured a How D’Ye Do and Shake Hands). performed before presidents and royalty,and was comically “conduct”classical music, a talent that the other parts of his style. He became an notoriously competitive performer, would try to splendid Frank Loesser score (Inchworm and George and Ira Gershwin’s The Babbitt and one of the world’s best-loved showmen. His he would use often in later years. excellent singer and actor and also proved to be upstage Danny at every performance. The two the King’s New Clothes are included herein). the Bromide was written for their 1927 phenomenal rise to the pinnacle of his profession Kaye struggled through the early 1930s, an elegant and graceful dancer as well. engaged in an ongoing battle to outdo the other, Despite his success in film, Kaye still production of Funny Face, starring Fred and was hardly an overnight success. Kaye spent appearing in vaudeville shows and eventually By 1937 Kaye was appearing in two-reelers which enabled Danny to further develop his preferred performing live, due to his innate Adele Astaire. The Astaires played two bourgeois years transforming himself from that of a Borscht winding up on tour in Asia. Unable to speak the and was courting a childhood friend named talent for hilarious stage business and gestures. ability to create a rapport with his audiences. “substantial men” (“Mr. Smythe and Mr. Jones”) Belt “tummler”(one who keeps audiences enter- languages, Kaye communicated by using mime Sylvia Fine. Sylvia was a budding songwriter who Abandoning her ambitions to become a star During one of his shows, he was apt at any who greet each other with a barrage of clichéd tained in between acts) to that of one of the most and facial expressions. He also developed a talent aspired to compose musical comedies. Her on her own, Sylvia Fine devoted all of her energies moment to break into a conga and shimmy pleasantries that never change over the years versatile entertainers in show business. for dialects and improvising gibberish during his speciality was writing sharp, smart, and witty to her husband. She became his coach, publicity through the aisles, or just sit at the edge of the (except to get faster), even when both are in Born David Daniel Kaminski in Brooklyn, NY, songs, which were funny in any language. The lyrics, with a penchant for political satire. When agent, manager, and even surrogate spokesperson stage and reminisce about his career. Heaven. Danny Kaye’s manic 1942 recording on 18 January 1913, Kaye began his career in first phrase he learned was git-gat-giddle with a she fell in love with Danny Kaye, she found in when Danny didn’t feel like answering inane In 1954 he became the spokesperson to reduced the dialogue to a crazed lesson in 1929 as part of a duo with a friend named Lou geet-ga-zay, which he then would embellish, him the ideal vehicle for her songs. Kaye had all questions from interviewers. One of the early raise money for UNICEF,the United Nations schizophrenia, with the final chorus in Heaven Eisen. The two sixteen-year-olds were employed incorporating it into one of the first songs he the tools she needed: the facial expressions, the numbers that she wrote for him was Anatole of International Children’s Emergency Fund. After a speeded up for comic effect. at the White Roe Hotel,a popular Jewish summer used in his act, Cab Calloway’s Minnie the gestures, and the accents. In time, Sylvia would Paris, in which Kaye sang in the voice of a fey run as host of his own television variety show on Although biographies have depicted him as resort located in the Catskill Mountains in mid- Moocher. Kaye worked it into his Saturday night become Danny’s Svengali, and virtually created designer of women’s hats. He added the song to CBS ended in 1967, Kaye devoted the remaining being distant, aloof, and sometimes mean to his state New York. It was at this time that David repertoire, cajoling his audience into repeating his on-stage persona. A small-time director named his nightclub act and eventually,Sylvia worked it years of his life to efforts benefiting UNICEF and co-workers, Danny Kaye remains one of show decided to use “Danny” (his middle name) for his every line he sang. The payoff would be when he Max Liebman, who would go on to create Your into the score to his 1947 motion picture hit, The other charitable endeavours. His acting was business’ best loved personalities. His ability to stage name. He also shortened his surname to would deliver an extra-long string of nonsense Show of Shows with Sid Caesar, also supplied Secret Life of Walter Mitty. severely curtailed, although he starred in an effortlessly switch from broad slapstick to an Kamin, but after a brother came home from the syllables that would prove impossible to copy. material for Kaye. Kaye’s second Broadway show was Cole unsuccessful Broadway musical Two by Two, elegant dance number, from romantic lead to army and changed his name to Kaye, Danny did During this early period, Kaye also added the Danny and Sylvia married in 1940, after Kaye Porter’s Let’s Face It! in which he played a larger written by Richard Rodgers. His final role was in clown, or from a dashing hero to a double-talking likewise. jazz standard Dinah to his repertoire, beginning had signed to appear on Broadway in Lady in the role. Porter’s witty and elegant lyrics for songs Skokie, a well-received television movie fool made him one of the most versatile The following summer, Kaye was upgraded to the song with a spoken introduction in Russian Dark, starring Gertrude Lawrence, with songs such as Let’s Not Talk About Love were perfect concerning conflict between holocaust survivors entertainers of his time. the role of stooge and began developing his own dialect. Kaye would pronounce the title “Dee- written by Moss Hart, Kurt Weill, and Ira for Kaye, and in 1944 Samuel Goldwyn hired him and members of the American Nazi party. Danny zany brand of humour. Having grown up listen- nah,”which in effect changed every other Gershwin. Recognizing Kaye’s talent and his fast to star in his first motion picture, Up in Arms. Kaye died of hepatitis related maladies on – Cary Ginell (folklorist, radio broadcaster, and award- ing to Yiddish songs, Kaye became fascinated rhyming word in the song (China became “chee- tongue, Gershwin wrote what would become The highlight of the film was Kaye’s bravura 18 March 1987 at the age of 74. winning author of four books on American music. He with the vocal style of cantors, who would often nah;” Carolina became “Caro-lee-na,”etc). Toward Kaye’s breakthrough number and his only song in performance of Lobby Number, a Sylvia Fine The songs on this CD emphasize the variety lives in Thousand Oaks, California) improvise during synagogue services. His use of the end he launched into a high-speed chorus of the show. Tschaikovsky (And Other parody of a typical Hollywood western. double-talk and gibberish was partially derived git-gat-giddle gibberish. The song became Russians) consisted simply of Kaye rattling off During the next decade, Kaye starred in a Original monochrome photo of Danny Kaye from GAB Archives / Redferns
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popular in his American stage shows but the names of 49 Russian composers in 38 series of films capitalizing on his extraordinary and versatility of Danny Kaye as a recording DANNY KAYE! audiences in Asia initially did not understand seconds. Gershwin took the names from the likeability,including The Court Jester, The artist. For every nutty song like The Fairy Original 1941-52 Recordings Kaye’s irreverence. Danny recorded Dinah, back covers of piano music in his brother’s Inspector General, and White Christmas. Many Pipers or Triplets, there was a tender ballad, mispronunciations and all, at his first recording collection. He included two ringers: Russian-born of these movies showcased his versatility by such as The Moon is Your Pillow or the lovely The recordings on this CD begin in the early from Yiddish songs such as “Rumania,Rumania,” session for Columbia in May 1941 (he would later songwriter Vernon Duke, whose real name was having him play dual roles or split personalities; Irish-sounding Eileen. Kaye even does a couple 1940s when Danny Kaye was still refining his act as performed by Aaron Lebedoff. Kaye’s mentor name his daughter Dena after the song). Vladimir Dukelsky,and Joseph Rumshinsky,a usually an austere macho hero vs. a cowardly of turns in a quartet featuring two other scene- and making his debut on Broadway. By the time at White Roe,Nat Lichtman, taught him how to Eventually,Kaye became so proficient at high writer in the Yiddish Theatre. Kaye’s performance twit. In addition, his knack for connecting with stealers (Jimmy Durante and Groucho Marx) and the last tracks were recorded in 1952, Kaye had use his body,his face, and his hands to augment speed double-talking, that it threatened to type- of Tschaikovsky became a showstopper. He children was best displayed in the 1952 film actress Jane Wyman (Black Strap Molasses and become an internationally famous movie star, his comedic delivery,even teaching Kaye to cast him. Almost in self-defence, he strengthened was so sensational that Gertrude Lawrence, a Hans Christian Andersen, which featured a How D’Ye Do and Shake Hands). performed before presidents and royalty,and was comically “conduct”classical music, a talent that the other parts of his style. He became an notoriously competitive performer, would try to splendid Frank Loesser score (Inchworm and George and Ira Gershwin’s The Babbitt and one of the world’s best-loved showmen. His he would use often in later years. excellent singer and actor and also proved to be upstage Danny at every performance. The two the King’s New Clothes are included herein). the Bromide was written for their 1927 phenomenal rise to the pinnacle of his profession Kaye struggled through the early 1930s, an elegant and graceful dancer as well. engaged in an ongoing battle to outdo the other, Despite his success in film, Kaye still production of Funny Face, starring Fred and was hardly an overnight success. Kaye spent appearing in vaudeville shows and eventually By 1937 Kaye was appearing in two-reelers which enabled Danny to further develop his preferred performing live, due to his innate Adele Astaire. The Astaires played two bourgeois years transforming himself from that of a Borscht winding up on tour in Asia. Unable to speak the and was courting a childhood friend named talent for hilarious stage business and gestures. ability to create a rapport with his audiences. “substantial men” (“Mr. Smythe and Mr. Jones”) Belt “tummler”(one who keeps audiences enter- languages, Kaye communicated by using mime Sylvia Fine. Sylvia was a budding songwriter who Abandoning her ambitions to become a star During one of his shows, he was apt at any who greet each other with a barrage of clichéd tained in between acts) to that of one of the most and facial expressions. He also developed a talent aspired to compose musical comedies. Her on her own, Sylvia Fine devoted all of her energies moment to break into a conga and shimmy pleasantries that never change over the years versatile entertainers in show business. for dialects and improvising gibberish during his speciality was writing sharp, smart, and witty to her husband. She became his coach, publicity through the aisles, or just sit at the edge of the (except to get faster), even when both are in Born David Daniel Kaminski in Brooklyn, NY, songs, which were funny in any language. The lyrics, with a penchant for political satire. When agent, manager, and even surrogate spokesperson stage and reminisce about his career. Heaven. Danny Kaye’s manic 1942 recording on 18 January 1913, Kaye began his career in first phrase he learned was git-gat-giddle with a she fell in love with Danny Kaye, she found in when Danny didn’t feel like answering inane In 1954 he became the spokesperson to reduced the dialogue to a crazed lesson in 1929 as part of a duo with a friend named Lou geet-ga-zay, which he then would embellish, him the ideal vehicle for her songs. Kaye had all questions from interviewers. One of the early raise money for UNICEF,the United Nations schizophrenia, with the final chorus in Heaven Eisen. The two sixteen-year-olds were employed incorporating it into one of the first songs he the tools she needed: the facial expressions, the numbers that she wrote for him was Anatole of International Children’s Emergency Fund. After a speeded up for comic effect. at the White Roe Hotel,a popular Jewish summer used in his act, Cab Calloway’s Minnie the gestures, and the accents. In time, Sylvia would Paris, in which Kaye sang in the voice of a fey run as host of his own television variety show on Although biographies have depicted him as resort located in the Catskill Mountains in mid- Moocher. Kaye worked it into his Saturday night become Danny’s Svengali, and virtually created designer of women’s hats. He added the song to CBS ended in 1967, Kaye devoted the remaining being distant, aloof, and sometimes mean to his state New York. It was at this time that David repertoire, cajoling his audience into repeating his on-stage persona. A small-time director named his nightclub act and eventually,Sylvia worked it years of his life to efforts benefiting UNICEF and co-workers, Danny Kaye remains one of show decided to use “Danny” (his middle name) for his every line he sang. The payoff would be when he Max Liebman, who would go on to create Your into the score to his 1947 motion picture hit, The other charitable endeavours. His acting was business’ best loved personalities. His ability to stage name. He also shortened his surname to would deliver an extra-long string of nonsense Show of Shows with Sid Caesar, also supplied Secret Life of Walter Mitty. severely curtailed, although he starred in an effortlessly switch from broad slapstick to an Kamin, but after a brother came home from the syllables that would prove impossible to copy. material for Kaye. Kaye’s second Broadway show was Cole unsuccessful Broadway musical Two by Two, elegant dance number, from romantic lead to army and changed his name to Kaye, Danny did During this early period, Kaye also added the Danny and Sylvia married in 1940, after Kaye Porter’s Let’s Face It! in which he played a larger written by Richard Rodgers. His final role was in clown, or from a dashing hero to a double-talking likewise. jazz standard Dinah to his repertoire, beginning had signed to appear on Broadway in Lady in the role. Porter’s witty and elegant lyrics for songs Skokie, a well-received television movie fool made him one of the most versatile The following summer, Kaye was upgraded to the song with a spoken introduction in Russian Dark, starring Gertrude Lawrence, with songs such as Let’s Not Talk About Love were perfect concerning conflict between holocaust survivors entertainers of his time. the role of stooge and began developing his own dialect. Kaye would pronounce the title “Dee- written by Moss Hart, Kurt Weill, and Ira for Kaye, and in 1944 Samuel Goldwyn hired him and members of the American Nazi party. Danny zany brand of humour. Having grown up listen- nah,”which in effect changed every other Gershwin. Recognizing Kaye’s talent and his fast to star in his first motion picture, Up in Arms. Kaye died of hepatitis related maladies on – Cary Ginell (folklorist, radio broadcaster, and award- ing to Yiddish songs, Kaye became fascinated rhyming word in the song (China became “chee- tongue, Gershwin wrote what would become The highlight of the film was Kaye’s bravura 18 March 1987 at the age of 74. winning author of four books on American music. He with the vocal style of cantors, who would often nah;” Carolina became “Caro-lee-na,”etc). Toward Kaye’s breakthrough number and his only song in performance of Lobby Number, a Sylvia Fine The songs on this CD emphasize the variety lives in Thousand Oaks, California) improvise during synagogue services. His use of the end he launched into a high-speed chorus of the show. Tschaikovsky (And Other parody of a typical Hollywood western. double-talk and gibberish was partially derived git-gat-giddle gibberish. The song became Russians) consisted simply of Kaye rattling off During the next decade, Kaye starred in a Original monochrome photo of Danny Kaye from GAB Archives / Redferns
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popular in his American stage shows but the names of 49 Russian composers in 38 series of films capitalizing on his extraordinary and versatility of Danny Kaye as a recording DANNY KAYE! audiences in Asia initially did not understand seconds. Gershwin took the names from the likeability,including The Court Jester, The artist. For every nutty song like The Fairy Original 1941-52 Recordings Kaye’s irreverence. Danny recorded Dinah, back covers of piano music in his brother’s Inspector General, and White Christmas. Many Pipers or Triplets, there was a tender ballad, mispronunciations and all, at his first recording collection. He included two ringers: Russian-born of these movies showcased his versatility by such as The Moon is Your Pillow or the lovely The recordings on this CD begin in the early from Yiddish songs such as “Rumania,Rumania,” session for Columbia in May 1941 (he would later songwriter Vernon Duke, whose real name was having him play dual roles or split personalities; Irish-sounding Eileen. Kaye even does a couple 1940s when Danny Kaye was still refining his act as performed by Aaron Lebedoff. Kaye’s mentor name his daughter Dena after the song). Vladimir Dukelsky,and Joseph Rumshinsky,a usually an austere macho hero vs. a cowardly of turns in a quartet featuring two other scene- and making his debut on Broadway. By the time at White Roe,Nat Lichtman, taught him how to Eventually,Kaye became so proficient at high writer in the Yiddish Theatre. Kaye’s performance twit. In addition, his knack for connecting with stealers (Jimmy Durante and Groucho Marx) and the last tracks were recorded in 1952, Kaye had use his body,his face, and his hands to augment speed double-talking, that it threatened to type- of Tschaikovsky became a showstopper. He children was best displayed in the 1952 film actress Jane Wyman (Black Strap Molasses and become an internationally famous movie star, his comedic delivery,even teaching Kaye to cast him. Almost in self-defence, he strengthened was so sensational that Gertrude Lawrence, a Hans Christian Andersen, which featured a How D’Ye Do and Shake Hands). performed before presidents and royalty,and was comically “conduct”classical music, a talent that the other parts of his style. He became an notoriously competitive performer, would try to splendid Frank Loesser score (Inchworm and George and Ira Gershwin’s The Babbitt and one of the world’s best-loved showmen. His he would use often in later years. excellent singer and actor and also proved to be upstage Danny at every performance. The two the King’s New Clothes are included herein). the Bromide was written for their 1927 phenomenal rise to the pinnacle of his profession Kaye struggled through the early 1930s, an elegant and graceful dancer as well. engaged in an ongoing battle to outdo the other, Despite his success in film, Kaye still production of Funny Face, starring Fred and was hardly an overnight success. Kaye spent appearing in vaudeville shows and eventually By 1937 Kaye was appearing in two-reelers which enabled Danny to further develop his preferred performing live, due to his innate Adele Astaire. The Astaires played two bourgeois years transforming himself from that of a Borscht winding up on tour in Asia. Unable to speak the and was courting a childhood friend named talent for hilarious stage business and gestures. ability to create a rapport with his audiences. “substantial men” (“Mr. Smythe and Mr. Jones”) Belt “tummler”(one who keeps audiences enter- languages, Kaye communicated by using mime Sylvia Fine. Sylvia was a budding songwriter who Abandoning her ambitions to become a star During one of his shows, he was apt at any who greet each other with a barrage of clichéd tained in between acts) to that of one of the most and facial expressions. He also developed a talent aspired to compose musical comedies. Her on her own, Sylvia Fine devoted all of her energies moment to break into a conga and shimmy pleasantries that never change over the years versatile entertainers in show business. for dialects and improvising gibberish during his speciality was writing sharp, smart, and witty to her husband. She became his coach, publicity through the aisles, or just sit at the edge of the (except to get faster), even when both are in Born David Daniel Kaminski in Brooklyn, NY, songs, which were funny in any language. The lyrics, with a penchant for political satire. When agent, manager, and even surrogate spokesperson stage and reminisce about his career. Heaven. Danny Kaye’s manic 1942 recording on 18 January 1913, Kaye began his career in first phrase he learned was git-gat-giddle with a she fell in love with Danny Kaye, she found in when Danny didn’t feel like answering inane In 1954 he became the spokesperson to reduced the dialogue to a crazed lesson in 1929 as part of a duo with a friend named Lou geet-ga-zay, which he then would embellish, him the ideal vehicle for her songs. Kaye had all questions from interviewers. One of the early raise money for UNICEF,the United Nations schizophrenia, with the final chorus in Heaven Eisen. The two sixteen-year-olds were employed incorporating it into one of the first songs he the tools she needed: the facial expressions, the numbers that she wrote for him was Anatole of International Children’s Emergency Fund. After a speeded up for comic effect. at the White Roe Hotel,a popular Jewish summer used in his act, Cab Calloway’s Minnie the gestures, and the accents. In time, Sylvia would Paris, in which Kaye sang in the voice of a fey run as host of his own television variety show on Although biographies have depicted him as resort located in the Catskill Mountains in mid- Moocher. Kaye worked it into his Saturday night become Danny’s Svengali, and virtually created designer of women’s hats. He added the song to CBS ended in 1967, Kaye devoted the remaining being distant, aloof, and sometimes mean to his state New York. It was at this time that David repertoire, cajoling his audience into repeating his on-stage persona. A small-time director named his nightclub act and eventually,Sylvia worked it years of his life to efforts benefiting UNICEF and co-workers, Danny Kaye remains one of show decided to use “Danny” (his middle name) for his every line he sang. The payoff would be when he Max Liebman, who would go on to create Your into the score to his 1947 motion picture hit, The other charitable endeavours. His acting was business’ best loved personalities. His ability to stage name. He also shortened his surname to would deliver an extra-long string of nonsense Show of Shows with Sid Caesar, also supplied Secret Life of Walter Mitty. severely curtailed, although he starred in an effortlessly switch from broad slapstick to an Kamin, but after a brother came home from the syllables that would prove impossible to copy. material for Kaye. Kaye’s second Broadway show was Cole unsuccessful Broadway musical Two by Two, elegant dance number, from romantic lead to army and changed his name to Kaye, Danny did During this early period, Kaye also added the Danny and Sylvia married in 1940, after Kaye Porter’s Let’s Face It! in which he played a larger written by Richard Rodgers. His final role was in clown, or from a dashing hero to a double-talking likewise. jazz standard Dinah to his repertoire, beginning had signed to appear on Broadway in Lady in the role. Porter’s witty and elegant lyrics for songs Skokie, a well-received television movie fool made him one of the most versatile The following summer, Kaye was upgraded to the song with a spoken introduction in Russian Dark, starring Gertrude Lawrence, with songs such as Let’s Not Talk About Love were perfect concerning conflict between holocaust survivors entertainers of his time. the role of stooge and began developing his own dialect. Kaye would pronounce the title “Dee- written by Moss Hart, Kurt Weill, and Ira for Kaye, and in 1944 Samuel Goldwyn hired him and members of the American Nazi party. Danny zany brand of humour. Having grown up listen- nah,”which in effect changed every other Gershwin. Recognizing Kaye’s talent and his fast to star in his first motion picture, Up in Arms. Kaye died of hepatitis related maladies on – Cary Ginell (folklorist, radio broadcaster, and award- ing to Yiddish songs, Kaye became fascinated rhyming word in the song (China became “chee- tongue, Gershwin wrote what would become The highlight of the film was Kaye’s bravura 18 March 1987 at the age of 74. winning author of four books on American music. He with the vocal style of cantors, who would often nah;” Carolina became “Caro-lee-na,”etc). Toward Kaye’s breakthrough number and his only song in performance of Lobby Number, a Sylvia Fine The songs on this CD emphasize the variety lives in Thousand Oaks, California) improvise during synagogue services. His use of the end he launched into a high-speed chorus of the show. Tschaikovsky (And Other parody of a typical Hollywood western. double-talk and gibberish was partially derived git-gat-giddle gibberish. The song became Russians) consisted simply of Kaye rattling off During the next decade, Kaye starred in a Original monochrome photo of Danny Kaye from GAB Archives / Redferns
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1. Minnie The Moocher 2:56 8. Civilization (Bongo Bongo Bongo) 14. I’ve Got A Lovely Bunch of 19. The King’s New Clothes 3:36 (Cab Calloway–Irving Mills–Clarence Gaskill) 3:05 Cocoanuts 2:30 From Hans Christian Anderson Orchestra & chorus cond. Maurice Abravanel (Bob Hilliard–Carl Sigman) (Fred Heatherton) (Frank Loesser) Columbia 36582, mx CO 30407-2 With the Andrews Sisters; orchestra cond. With the Harmonaires; orchestra cond. Orchestra & chorus cond. Gordon Jenkins Recorded 5 May 1941, New York Vic Schoen Vic Schoen Decca 28382, mx WL 6858-A 2. Anatole of Paris 3:00 Decca 23940, mx WL 4508-A Decca 24784, mx WL 5144-A Recorded 11 August 1952, Los Angeles (Sylvia Fine) Recorded 27 September 1947, Los Angeles Recorded 2 October 1949, Los Angeles 20. Tschaikovsky 0:51 Orchestra cond. Johnny Green 9. Triplets 2:15 15. The Peony Bush 3:08 From Lady In The Dark Columbia 36583, mx CO 32301-1 (Arthur Schwartz–Howard Dietz) (Meredith Willson) (Kurt Weill–Ira Gershwin) Recorded 23 January 1942, New York Orchestra cond. Johnny Green Orchestra cond.Vic Schoen Orchestra & chorus cond.Vic Schoen 3. The Fairy Pipers 2:02 Decca 24745, mx WL 4665-A Decca 24784, mx WL 5145-A Decca 28562, mx WL 6966-A (part) (Fred. E.Weatherly–A. Herbert Brewer) Recorded 14 December 1947, Los Angeles Recorded 2 October 1949, Los Angeles Recorded 20 December 1952, Los Angeles Piano solo & orchestra cond. Johnny Green 10. Ballin’The Jack 2:24 16. How D’Ye Do And Shake Hands 2:54 Transfers & Production: David Lennick Columbia 36584, mx CO 32169-1 (Chris Smith–Jim Burris) (Cy Coben–Oliver Wallace) Recorded 9 January 1942, New York Orchestra cond. Johnny Green With Jimmy Durante, Jane Wyman, Groucho Digital Noise Reduction: Graham Newton 4. The Babbitt And The Bromide 2:39 Decca 24401, mx WL 4693 Marx and 4 Hits & A Miss;orchestra cond. (George & Ira Gershwin) Recorded 18 December 1947, Los Angeles Sonny Burke Also available ... Orchestra cond. Johnny Green 11. The Moon Is Your Pillow 3:04 Decca 27748, mx WL 6388-A Columbia 36584, mx CO 32300-1 (Michel Emer–Sammy Gallop) Recorded 12 August 1951, Los Angeles Recorded 23 January 1942, New York Orchestra cond. Johnny Green 17. Black Strap Molasses 2:40 5. Eileen 3:29 Decca 24747, mx WL 4704-A (Carmine Ennis–Marilou Harrington) (Sylvia Fine–Max Liebman) Recorded 19 December 1947, Los Angeles With Jimmy Durante, Jane Wyman, Groucho Orchestra & chorus cond. Johnny Green 12. The Big Brass Band From Brazil Marx and 4 Hits & A Miss;orchestra cond. Columbia 36585, mx CO 32299-1 3:05 Sonny Burke Recorded 23 January 1942, New York (Bob Hilliard–Carl Sigman) Decca 27748, mx WL 6389-A Recorded 12 August 1951, Los Angeles 6. Dinah 2:41 With the Andrews Sisters; orchestra cond. (Sam Lewis–Joe Young-Harry Akst) Vic Schoen 18. Inchworm 3:17 Orchestra cond. Maurice Abravanel Decca 24361, mx WL 4705-A From Hans Christian Anderson Columbia 36585, mx CO 29994-3 Recorded 20 December 1947, Los Angeles (Frank Loesser) Recorded 5 May 1941, New York 13. Lobby Number 6:01 Orchestra & chorus cond. Gordon Jenkins Decca 28381, mx WL 6859-A 8.120715 7. Bloop Bleep 2:43 From Up In Arms (Sylvia Fine–Max Liebman) Recorded 12 August 1952, Los Angeles (Frank Loesser) * Not Available in the U.S. 8.120679* Orchestra cond. Billy May Orchestra cond. Johnny Green Decca 23950, mx WL 4419-A Decca 24744, mx WL 4709-A,4710-A Recorded 7 May 1947, Los Angeles Recorded 20 December 1947, Los Angeles NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120775 6 8.120775 120775bk DannyKaye 10/6/04 3:32 PM Page 2
1. Minnie The Moocher 2:56 8. Civilization (Bongo Bongo Bongo) 14. I’ve Got A Lovely Bunch of 19. The King’s New Clothes 3:36 (Cab Calloway–Irving Mills–Clarence Gaskill) 3:05 Cocoanuts 2:30 From Hans Christian Anderson Orchestra & chorus cond. Maurice Abravanel (Bob Hilliard–Carl Sigman) (Fred Heatherton) (Frank Loesser) Columbia 36582, mx CO 30407-2 With the Andrews Sisters; orchestra cond. With the Harmonaires; orchestra cond. Orchestra & chorus cond. Gordon Jenkins Recorded 5 May 1941, New York Vic Schoen Vic Schoen Decca 28382, mx WL 6858-A 2. Anatole of Paris 3:00 Decca 23940, mx WL 4508-A Decca 24784, mx WL 5144-A Recorded 11 August 1952, Los Angeles (Sylvia Fine) Recorded 27 September 1947, Los Angeles Recorded 2 October 1949, Los Angeles 20. Tschaikovsky 0:51 Orchestra cond. Johnny Green 9. Triplets 2:15 15. The Peony Bush 3:08 From Lady In The Dark Columbia 36583, mx CO 32301-1 (Arthur Schwartz–Howard Dietz) (Meredith Willson) (Kurt Weill–Ira Gershwin) Recorded 23 January 1942, New York Orchestra cond. Johnny Green Orchestra cond.Vic Schoen Orchestra & chorus cond.Vic Schoen 3. The Fairy Pipers 2:02 Decca 24745, mx WL 4665-A Decca 24784, mx WL 5145-A Decca 28562, mx WL 6966-A (part) (Fred. E.Weatherly–A. Herbert Brewer) Recorded 14 December 1947, Los Angeles Recorded 2 October 1949, Los Angeles Recorded 20 December 1952, Los Angeles Piano solo & orchestra cond. Johnny Green 10. Ballin’The Jack 2:24 16. How D’Ye Do And Shake Hands 2:54 Transfers & Production: David Lennick Columbia 36584, mx CO 32169-1 (Chris Smith–Jim Burris) (Cy Coben–Oliver Wallace) Recorded 9 January 1942, New York Orchestra cond. Johnny Green With Jimmy Durante, Jane Wyman, Groucho Digital Noise Reduction: Graham Newton 4. The Babbitt And The Bromide 2:39 Decca 24401, mx WL 4693 Marx and 4 Hits & A Miss;orchestra cond. (George & Ira Gershwin) Recorded 18 December 1947, Los Angeles Sonny Burke Also available ... Orchestra cond. Johnny Green 11. The Moon Is Your Pillow 3:04 Decca 27748, mx WL 6388-A Columbia 36584, mx CO 32300-1 (Michel Emer–Sammy Gallop) Recorded 12 August 1951, Los Angeles Recorded 23 January 1942, New York Orchestra cond. Johnny Green 17. Black Strap Molasses 2:40 5. Eileen 3:29 Decca 24747, mx WL 4704-A (Carmine Ennis–Marilou Harrington) (Sylvia Fine–Max Liebman) Recorded 19 December 1947, Los Angeles With Jimmy Durante, Jane Wyman, Groucho Orchestra & chorus cond. Johnny Green 12. The Big Brass Band From Brazil Marx and 4 Hits & A Miss;orchestra cond. Columbia 36585, mx CO 32299-1 3:05 Sonny Burke Recorded 23 January 1942, New York (Bob Hilliard–Carl Sigman) Decca 27748, mx WL 6389-A Recorded 12 August 1951, Los Angeles 6. Dinah 2:41 With the Andrews Sisters; orchestra cond. (Sam Lewis–Joe Young-Harry Akst) Vic Schoen 18. Inchworm 3:17 Orchestra cond. Maurice Abravanel Decca 24361, mx WL 4705-A From Hans Christian Anderson Columbia 36585, mx CO 29994-3 Recorded 20 December 1947, Los Angeles (Frank Loesser) Recorded 5 May 1941, New York 13. Lobby Number 6:01 Orchestra & chorus cond. Gordon Jenkins Decca 28381, mx WL 6859-A 8.120715 7. Bloop Bleep 2:43 From Up In Arms (Sylvia Fine–Max Liebman) Recorded 12 August 1952, Los Angeles (Frank Loesser) * Not Available in the U.S. 8.120679* Orchestra cond. Billy May Orchestra cond. Johnny Green Decca 23950, mx WL 4419-A Decca 24744, mx WL 4709-A,4710-A Recorded 7 May 1947, Los Angeles Recorded 20 December 1947, Los Angeles NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120775 6 8.120775 DANNY KAYE! 8.120775 h www. NOTES ANDFULLRECORDING DETAILS INCLUDED Graham Newton DavidLennick NoiseReduction: •Digital Transfers &Production: DannyKaye! 0 Tschaikovsky 20. TheKing’sNewClothes 19. Inchworm 18. BlackStrapMolasses 17. HowD’yeDoAndShakeHands 16. ThePeonyBush 15. I’veGotALovelyBunchOfCocoanuts 14. LobbyNumber 13. Brazil TheBigBrassBandFrom 12. 11. Ballin’TheJack 10. .Triplets 9. Civilization(BongoBongoBongo) 8. BloopBleep 7. Dinah 6. Eileen 5. TheBabbittAndBromide 4. TheFairyPipers 3. AnatoleOfParis 2. MinnieTheMoocher 1. & g with The Andrews Sisters Andrews with The Total Time:58:19 Groucho Jane Marxand4Hits& A Miss Wyman, with Jimmy Durante, Groucho Jane Marxand4Hits& A Miss Wyman, with Jimmy Durante, Sisters Andrews with The The M 04NxsRgt nentoa t.Dsg:RonHoares Design: Ltd. 2004 NaxosRightsInternational naxos.com oo 2:41 3:29 n Is 2:15 3:17 Y 2:43 our Pillow 0:51 6:01 2:24 3:08 3:00 2:02 2:40 2:56 Original 1941-1952Recordings 3:36 3:04 2:39 Made intheEU 2:54 3:05 3:05 2:30 8.120775
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