July 14, 2019

John Curley The Smithereens were electrifying as the lights went out on Broadway

Despite the wide-scale power outage in Manhattan, the veteran New Jersey-based rockers, aided by Marshall Crenshaw, delivered a powerhouse set at The Iridium in New York City’s Times Square on Saturday, July 13th.

The post The Smithereens were electrifying as the lights went out on Broadway appeared first on Goldmine Magazine.

from Goldmine Magazine

78manblog 3 New CD Releases!

Three more 78Man Digital albums have been made available on CD. They can be bought on Discogs via the 78Man Store Here or on Ebay from seller Decal23. Alternatively contact me via here, Facebook or Twitter if you don’t use Discogs or Ebay.

The albums are :

78Man Favourites Vol 4

  1. The Music Goes Round and Around-Eddy-Reilly And Their Onyx Club Boys (Brunswick RL 325, 1935)
  2. Mary Ellen’s Hotpot Party-Gracie Fields (Regal Zonophone MR 2067, 1936)
  3. Blaydon Races-The Five Smith Brothers (Parlophone F 2342, 1949)
  4. Everything Is Fresh Today-Jack Hodges (Regal Zonophone MR 1046, 1933)
  5. Feeling My Way-Eddie Lang (Parlophone R 2565, 1938)
  6. Sh’ Shiverin’-Leonard Henry (His Master’s Voice B 2883, 1929)
  7. Ole Faithful-The Three Gynx (Rex 8328, 1934)
  8. Hello Twins-Randolph Sutton (Imperial 2658, 1932)
  9. Shinanika Da-Henry Hearty (Zonophone 5302, 1929)
  10. Hunting Tigers out in Indiah-Walter Miller With Harry Hudson’s Melody Men ( Edison Bell Radio 1421, 1930)
  11. I’ll Bet You Tell That to All the Girls-Billy Cotton And His Band (Regal Zonophone MR 2170, 1936)
  12. The Warber’s Serenade (A Musical Travesty)-The London Novelty Orchestra (Regal Zonophone MR 95, 1932)
  13. Peter’s Pop Keeps a Lollipop Shop-Jack Payne And His Band (Rex 8886, 1936)
  14. My Wife Is On a Diet-Jack Kaufman (Imperial 2178, 1929)
  15. Narcissus-Joyce Grenfell And Norman Wisdom (Columbia DB 3161, 1952)
  16. The Druid’s Prayer-The International Novelty Orchestra (Regal Zonophone MR 1116, 1934)
  17. Who’s Afraid of the Big Bad Wolf-BBC Dance Orchestra (Columbia CB 669, 1933)
  18. Buy British-Clarkson Rose (Zonophone 6103, 1932)
  19. My Last Year’s Girl-Leslie Holmes (Rex Records 8135, 1934)
  20. Tiptoe Through the Tulips-Jack Hylton And His Orchestra (His Master’s Voice B 5722, 1929)

78Man Presents Leslie Sarony Vol. 5

1. Coom, Pretty One (Rex 8183, 1934)
2. I Laughed So Hard I Nearly Died (Eclipse 346, 1933)
3. Hold Out Your Pudding for Jam (Eclipse 346, 1933)
4. The Old Sow (Rex 8145, 1934)
5. Jollity Farm (With Jack Hylton & His Orchestra, HMV B5744, 1930)
6. He Played His Ukulele As the Ship Went Down, Pt. 1 (Eclipse 175, 1932)
7. He Played His Ukulele As the Ship Went Down, Pt. 2 (Eclipse 175, 1932)
8. Sing Holly! Go Whistle! Hey Hey! (Broadcast Super Twelve 3026, 1931)
9. Years and Years and Years (Eclipse 871, 1934)
10.No! No! A Thousand Times No! (Eclipse 871, 1934)
11.Sarah Jane (Imperial 2108, 1929)
12.Make Up Your Mind You’re Gonna Be Young (Imperial 2399, 1930)
13.Sunny Days (Imperial 2399, 1930)
14.I Taught Her How to Play (Eclipse 849, 1934)
15.Tom Thumb’s Drum (With Jack Hylton and His Orchestra, Decca F. 2672, 1931)
16.What Are You Going to Do About Mary (Imperial 2121, 1929)
17.On Ilkla Moor Baht’At (Rex 8145, 1934)
18.Virginia (There’s a Blue Ridge Round My Heart) (The Victory 56, 1928)
19.More Rhymes, Pt. 3 (Eclipse 164, 1932)
20.More Rhymes, Pt. 4 (Eclipse 164, 1932)

Songs That Leslie Sarony Taught Us Vol. 2

  1. Why Build A Wall Round A Graveyard?-Roy Fox and His Band (Decca F. 3762, 1933)
  2. I’m a Little Prairie Flower-Jack Jackson & His Band (Decca F. 6652, 1937)
  3. Mucking About the Garden-Jack Morrison (Broadcast 453, 1929)
  4. Madonna Mine-Billy Reid And His London Piano Accordion Band (Decca F. 5116, 1935)
  5. Once Aboard the Lugger-Jack Hylton & His Orchestra (Decca F. 2795, 1932)
  6. When the Band Goes Marching By-Jack Grose And His Metropole Players (Eclipse 265, 1932)
  7. Bunkey Doodle I Doh-Albert Whelan (The Victory 182, 1929)
  8. Ain’t Love Grand-Joe Loss And His Band (Regal Zonophone MR 2645, 1937)
  9. Rhymes, Pt. 1 and 2-Orpheus Dance Band (Zonophone 6016, 1932)
  10. More Rhymes, Pt. 1 and 2-George Buck And The Roysterers (Edison Bell Winner 5441, 1932)
  11. When the Guards Are on Parade-Arcadians Dance Orchestra (Zonophone 5937, 1931)
  12. Ain’t It Grand to Be Bloomin’ Well Dead-Primo Scala’s Accordian Band (Decca F. 9011, 1948)
  13. Snap Your Fingers, Clap Your Hands-Billy Cotton & His Band (Regal MR 583, 1932)
  14. Wheezy Anna-The Barmy Brothers (Regal Zonophone MR 830, 1933)
  15. Over the Garden Wall-Jack Payne & His BBC Dance Orchestra (Columbia CB 132, 1930)
  16. I Lift Up My Finger and I Say “Tweet Tweet”-Clarkson Rose (Zonophone 5342, 1929)
  17. Jollity Farm-Jack Payne & His BBC Dance Orchestra (Columbia 5729, 1930)
  18. Forty Seven Ginger Headed Sailors-Tommy Handley (Piccadilly 140, 1928)
  19. Clonkerty Clonk-Jack Hylton & His Orchestra (His Master’s Voice B 5321, 1927)
  20. Tom Thumb’s Drum-Tommy Kinsman And His Ciros Club Band (Sterno 845, 1932)

from 78manblog

Freya Parr The best recordings of Handel’s Water Music


It was a long and lavish night out; an exercise in PR, power and politics, and a very public private entertainment. On the balmy evening of 17 July 1717, at a cost of ‘a hundred and fifty pounds for the musicians alone’, King George I stepped into the Royal Barge at Whitehall and sailed in a flotilla of courtiers and diplomats to the Chelsea home of Lord Ranelagh, where he took supper.

His ear tickled by three orchestral suites that synthesized French, Italian and native styles with novel instrumentation (it is thought that the softer-edged G major Suite may have been played indoors) the King so much enjoyed Handel’s creation that he called for it to be played a second and third time.

The party ended back in Whitehall at 3am and Handel’s status as England’s leading composer was secured. As with many of his compositions for royal occasions, he had built on the legacy of Purcell’s theatre music, creating dances of immediate and lasting appeal. Yet the first complete edition of the ‘famous Water Musick’ was not published until almost 30 years after his death.


The best recording

Hervé Niquet (conductor)
Le Concert Spirituel (2002)
Glossa GCDSA921616

On disc and online, there is a wide choice of historically informed performances: Christopher Hogwood’s 1978 L’Oiseau Lyre recording with the Academy of Ancient Music remains outstanding for even-temperedness; Lars Ulrik Mortensen’s account of the Suite in F with the European Union Baroque Orchestra for Estonian Record Productions boasts a dynamic bass line; there’s a pleasing pithiness to Nicholas McGegan’s interpretation with Philharmonia Baroque Orchestra, and great panache from Ensemble Zefiro directed by Alfredo Bernardini.

From questions of scale and ordering to speeds, dynamics and instrumentation, the variety is remarkable, but from a shortlist of 16, I found myself drawn to those discs with a distinctive, even radical character. We think of the 18th century as a quieter place, but audibility would have been a factor on the Thames (think of Canaletto’s busy riverscapes).

Then there’s the laugh-out-loud shock of hearing hunting horns with an orchestra for the first time. For this reason, Hervé Niquet’s 2002 Glossa disc took first place, with nine horns as pungently tuned as those of the Bohemian players engaged by Handel himself. There are vast choirs of Stanesby oboes and bassoons, kettledrums, and a Jingling Johnny in the final Gigue. It’s packed with humour and sensuality, as hedonistic as a tequila slammer and absurdly enjoyable.




Three more great recordings

Akademie für Alte Musik Berlin (2016)
Harmonia Mundi HMC902216

No conductor, a single pair of oboes, two house-trained horns, a brace of gleaming natural trumpets and a band of musicians who really listen to each other. With 13 fewer players than Handel’s band of 50 and less than half of Hervé Niquet’s forces, Akademie für Alte Musik’s delicately drawn 2016 recording is exquisitely recorded to reflect the different colours in the writing, and is beautifully blended throughout.

There are some daringly slow tempos, a wide dynamic range, and touching intimacy in the minuet of the second suite, where lutenist Björn Colell shines. Where Niquet offers spectacle, the Berliners offer inventive articulation from the violas, playful trills from contrabassoon and double bass, and a soundworld perhaps better suited to the king’s Chelsea supper than the hurly-burly 
of the Thames.




Jordi Savall (conductor)
Le Concert des Nations (1993)
Alia Vox AVSA9860

Jordi Savall’s 1993 performance of the Water Music on Alia Vox boasts the warmest toned oboes, bassoons and horns and beautifully direct string playing in the unusually reverberant acoustic of Cardona Castle in Catalonia. It’s honeyed and poised playing, with sensitively pointed continuo accompaniment from Pierre Hantaï on harpsichord and Paula Chateaneuf on theorbo. Savall has played with the ordering of the D and G major dances, crafting them into one persuasive suite of similar length to the F major Suite. 

The decoration is French in flavour and underlines how cleverly Handel built on Purcell’s legacy. While there is little sense of the outdoors, there is a great sense of theatre.




John Eliot Gardiner (conductor)
English Baroque Soloists (1983)
Philips 434 1542

There’s a haughty, ceremonial beauty to Sir John Eliot Gardiner’s 1983 performance with the English Baroque Soloists. Though the tone is a little thin by modern standards in the sections for single strings and solo oboe, the muscularity of the tutti trills is thrilling and the horns would make any monarch proud. No corner has escaped unexamined and the engagement of the cellos and double basses is unflagging.

The Adagio e staccato of the F major Suite is sculpted without cloying sentiment and the Andante is suavely balanced. What is lacking in tenderness in the birdlike and dewy dances of the G major Suite is compensated for by the athleticism of the D major Suite, a tart flavour to the final Bourrée, and a lovely round tone to the timpani.




This article first appeared in the December 2016 issue of BBC Music Magazine, written by Anna Picard.



Ahmad Jamal

Besides topping the charts in the 1950s, Ahmad Jamal’s piano trio recordings had a profound influence on the music of Miles Davis. Geoffrey Smith explores a relationship that surprised the critics.

from Geoffrey Smith’s Jazz

Blog at

Up ↑

%d bloggers like this: