NELSON RIDDLE DOES IT AGAIN...(thanks EMI!)
Giovanni Marra | Lockport, IL | 05/02/2005
(5 out of 5 stars)
"Three cheers for EMI, who continues to release some of Nelson Riddle's Capitol works in two's. This is the fourth such collection from them, and with complete original liner notes and wonderful sound quality, we have another happy occasion of a new Nelson Riddle release on CD. When he wasn't contributing to the stellar careers of Frank Sinatra, Peggy Lee, Nat "King" Cole
or others (on and off of Capitol Records' label) with his wonderful arrangements, Nelson found time to do a few albums of his own. Capitol afforded him the best of the best Hollywood musicians, even if they were a little lax on promoting his albums. Here, Nelson tackles two motion picture scores (based on their Broadway predecessors). Much has been written about the first installment of this "two-fer", the sides comprised on "OKLAHOMA". Many of the tracks, recorded in 1955, are
longer than was the norm for tracks in those days. Riddle also was given free reign over the way this album was recorded, and went on record to say this was not "just another recording of
the movie music", but rather an artistic exploration of Richard Rodgers' unforgettable music. Right from the start, "OH WHAT A BEAUTIFUL MORNING" is an extended piece, with Riddle's
sensitive use of strings and "vapor voice" of Norma Jean Loulie as the only hint of conforming to the usual delivery of this song. Instead, Riddle's reading is almost at once sensuous, but not overbearing. KANSAS CITY is an irrestistable knee slapper sans too much corn, if you will. Riddle injects just enough jazz into this chart to keep the sawdust off the floor. (This can also be said about another barn burner, per se, on this album, the charming "THE FARMER AND THE COWMAN". Harry "Sweets" Edison is featured throughout, and his presence makes for a wonderful version of "I CAN'T SAY NO". His unmistakable horn playing is a major part of Riddle's sound, since Riddle employed this great player on most of anything he did. Of course, the "big love song" of both the movie and the show was "PEOPLE WILL SAY WERE IN LOVE". Once again, with strings and
voice, it becomes the piece de resistance on this collection. The lush, slow reading of OUT OF MY DREAMS is also a very gorgeous piece of work. The title track is a great way to end this part of the album. Again, a jazzy version without changing too much of the magic of Rodgers' original score. If one were pressed for one word to describe this album (or Nelson Riddle's arrangements therein)'imaginitive' would come to mind.
While Nelson Riddle wasn't as famous at movie scoring as he would have liked, he still was excellent at it when given the chance (like everything else he ever did musically). This can be
witnessed here by the sides on the CAN-CAN portion of this album. That Riddle sound was more prevalent now, (1960) and it shows on these sides. The pauses, the trombone solos, the overall swing and swagger. Riddle revisited his score for the motion picture and took these wonderful Cole Porter songs to the task again, writing charts for "dancing" as the notes mention.
A great album to finally have since it once again features some of the creme de la creme of the Hollywood musicians and contains some great charts (more uptempo numbers for you swingers out there!) The sumptuous trombone in "I LOVE PARIS" (Riddle's instrument, remember) is none other than George Roberts. With the gentle lilt of "MAIDENS TYPICAL OF FRANCE" Riddle captures Porter's playfulness in lyrics without a vocalist. And the slow building swing of C'EST MAGNIFIQUE" is typically Riddle.
Once again, it's great to see EMI releasing Nelson Riddle's works. Hoping they continue this trend and get more of the wonderful Riddle catalog out there for us to enjoy!"
Track Listings (23) - Disc #1