Features 24 bit remastering and comes with a mini-description. 1943 was a banner year for the musical theater. For it was then that Rodgers and Hammerstein joined forces for the first time and wrote the memorable "Oklahoma." What happened after "Oklahoma" is history - and what a history it is! "Carousel", "South Pacific", "The King and I" were among the hits that followed, and now with "Flower Drum Song" add another triumph to the string of successes this team has contributed to the American musical scene.
When Jerome Kern's "Roberta" opened on Broadway on November 18, 1933, few realized that they were witnessing what was to become one of the best-loved musicals of all time. Had Kern written only the score of "Roberta" it would have been enough to establish him as a composer of unusual gifts. For this is one of the few shows that can boast such a long list of all-time favorites. Each of the songs heard in this album by the Morris Nanton Trio is as fresh today as it was in the fall of 1933.
The plot of "Roberta" is one of those improbable stories which abound in the history of the musical comedy. It concerns the inheritance of a fashionable Paris dressmaking establishment by an American football player and his romance with one of the employees…
1943 was a banner year for the musical theater. For it was then that Rodgers and Hammerstein joined forces for the first time and wrote the memorable "Oklahoma." What happened after "Oklahoma" is history - and what a history it is! "Carousel", "South Pacific", "The King and I" were among the hits that followed, and now with "Flower Drum Song" add another triumph to the string of successes this team has contributed to the American musical scene.
"Flower Drum Song" is based on C. Y. Lee's novel of the same name and tells the story of a mix-up between a mail order bride from China who comes to San Francisco only to find that she and a brassy strip-teaser from San Francisco's Chinatown are about to marry the same fellow…
This was Ammons' final recording before "being made an example of" and getting a lengthy jail sentence for possession of heroin; his next record would be cut over seven years later. The music is surprisingly upbeat, with Ammons joined by two guitars (Bucky Pizzarelli and Kenny Burrell), a fine rhythm section (pianist Hank Jones, bassist Norman Edge, and drummer Oliver Jackson), and the bongos of Al Hayes for a set of Latin-flavored jazz that was masquerading as bossa nova.
During four marathon recording sessions in 1953-55, Norman Granz recorded Art Tatum playing 119 standards, enough music for a dozen LPs. The results have been recently reissued separately on eight CDs and on this very full seven-CD box set. Frankly, Tatum did no real advance preparation for this massive project, sticking mosty to concise melodic variations of standards, some of them virtual set pieces formed over the past two decades. Since there are few uptempo performances, the music in this series has a certain sameness after awhile but, heard in small doses, it is quite enjoyable. A special bonus on this box (and not on the individual volumes) are four numbers taken from a 1956 Hollywood Bowl concert.