Various Artists
Sentimental Journey: Hits from the Second World War
Legacy
Various Artists
I’m Beginning to See the Light: Dance Hits from the Second World War
Legacy
Various Artists
Songs Without Words: Classical Music from Ken Burns’ The War
Legacy
The most ballyhooed project of the fall TV season is a seven-part PBS documentary series by renowned director Ken Burns called The War. Beginning this week (locally on WHRO), the series tells the story of World War II through the personal testimonies of 50 folks who were there. With Burns’ track record and the publicity and controversy surrounding it, The War could well be the Roots of this decade.
The series’ soundtrack is built around the music of the era, that wonderful big band sound that defines the last half of the ’30s and the first half of the ’40s so well—Goodman, Basie, Ellington. But there’s more—20th-century classical music by Copland and Walton, and contemporary takes by Norah Jones, Wynton Marsalis and Yo-Yo Ma.
Like other music-filled undertakings such as American Graffiti and O Brother, the soundtrack has spawned the release of additional music from the time period of the film’s setting. With the combined vaults of the now-merged Sony and BMG families at their disposal, the musical archaeologists at Legacy Recordings have assembled three additional discs to complement the single-CD soundtrack. Each is available separately or together as part of a four-disc "deluxe edition" box set.
Sentimental Journey brings together 20 "hits from the Second World War." It’s a potent mix of Artie Shaw, Harry James, Cab Calloway, Louis Armstrong and more. Glenn Miller’s cookin’ version of "Little Brown Jug" is here, the Mills Brothers wrap their distinctive vocal blend around "Paper Doll," Sinatra croons "Let’s Get Lost" on a radio aircheck from Your Hit Parade and fronts the Dorsey band on "I’ll Be Seeing You." Peggy Lee sings "We’ll Meet Again" with Benny Goodman, Billy Eckstine’s rich voice leads Earl Hines and his Orchestra through the definitive "Skylark," Doris Day takes a mellow "Sentimental Journey" with Les Brown and Coleman Hawkins lays down his classic version of "Body and Soul."
I’m Beginning to See the Light contains "dance hits," though I’m not sure how one distinguishes "dance hits" from just plain "hits." Again, the mix is marvelous, filled with bands’ trademark tunes: Glenn Miller’s "In the Mood," Duke Ellington’s "C Jam Blues," Charlie Barnet’s "Cherokee," Count Basie’s "One O’Clock Jump, Benny Goodman’s "Sing Sing Sing." Anita O’Day asks Gene Krupa’s orchestra to "Let Me Off Uptown"; Tex Beneke tells about his gal in "Kalamazoo," while the Miller band wails behind him; and Kitty Kallen fronts Harry James’ crew on the disc’s title song. Jimmie Lunceford and his Orchestra remind us "Tain’t What you Do (It’s the Way That You Do It)."
These two discs demonstrate how great it was when there was more to popular music than guitars, bass, drums, electronic keyboards and studio tricks.
There is also a classical disc that features several of the pieces found on the soundtrack, plus a few extras. Songs Without Words has Aaron Copland’s Concerto for Clarinet, Strings, Harp and Piano featuring Benny Goodman on the licorice stick, some Dvorak, Liszt, Mendelssohn and Elgar. The third movement of Messiaen’s Quartet for the End of Time, written when the composer was interned in a German prison camp, is especially moving and appropriate given the subject matter. The solemnity and seriousness of this final set is relieved only by Copland’s gorgeous "Grover’s Corners" from Our Town, and makes for a powerful juxtaposition against the upbeat big band sounds of the first two CDs.
copyright © 2007 Jim Newsom. All Rights Reserved.
