The research into Ralph Rainger that has kept me more or less hors de combat from Rifftides lately included the not entirely disagreeable task of watching The Big Broadcast of 1938. Film musicals still recycled vaudeville in those days, so what we get is a series of blackouts draped over a flimsy structure called a plot. It’s an excuse to see, among other things, a few vintage W.C. Fields bits and hear Martha Raye, a drastically underrated singer. Part of the plot involves Bob Hope’s character dodging three ex-wives while he pursues Dorothy Lamour.
Hope and one of the exes, played by Shirley Ross, have a drink in the lounge of a transatlantic liner. Beautifully underplayed (in contrast to the rest of the movie), the scene introduced one of Rainger’s best songs and – according to Hollywood lore – reduced the crew to tears while it was being filmed. Here’s why.
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
The whole film crew got teary?!? I thought I was the only one… It’s so spontaneous! Hope and Ross seem to be singing live-to-a-band-track, rather than the standard pre-record.
You’re right about it being a great song, and one that’s rarely done in jazz, but that old folky Dave Van Ronk did a great version with Sarah Partridge back in early 2001. It’s Keith Ingham, piano and arranger, with Scott Robinson adding fine tenor work.
(Justin Time JUST 166-2 >>Sweet And Lowdown
I’d forgotten how beautifully they did that number. I must say it got to me. Thanks for that memory.
BTW, Serge, Stan, O’Day and most recently Stacey Kent at the Pizza Express (streaming only perhaps) have done ‘Thanks’, but IMO because of the terrific lyrics, its the vocal versions that stick with me.