Word: basses
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Dates: during 1940-1949
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Melody Time (Disney; RKO Radio) is a crowded 75 minutes of song-illustrated animation involving: 1) skating lovers, tintype style, emulated by rabbits; 2) Rimsky-Korsakov's bumblebee, tormented by a boogie bass; 3) Johnny Appleseed, advised by a Guardian Angel in a coonskin cap; 4) Donald Duck, Joe Carioca and Organist Ethel Smith in the throes of a samba; 5) an apotheosis of Joyce Kilmer's Trees; 6) a young tugboat named Little Toot which disgraces and redeems itself; 7) a tall-tale, free-for-all finale about Pecos Bill, his horse Widow-maker...
...strain to hear what frantic Trumpeter Gillespie and his 15 boppers (including four other trumpets) had to say. Whatever else, bebop is screechingly loud. It is also breathlessly fast, with some biting dissonance and shifty rhythms, with the brass blaring out accents up on top. Pieces like Two Bass Hit and Stay On It didn't sound like "moldy fig" music (boppese for "decadent" Dixieland jazz); but, except for Dizzy's wild, fast-riding solos, they did sound like something Duke Ellington had thought better of a long time...
...more winsomely. In the somewhat lesser role of Edith, Denise Findley gave by far the best female performance. The sets were as usual wonderful, and the conducting of Isadore Godfrey was for the most part an improvement on the D'Oyly Carte recording. His original use of the accompanying bass and of the French horns was one of the many surprises of the evening. Among other pleasures were the singing of the "Paradox" ("ha-ha-ha-ha") trio and the presence of the pitiful little corps of policemen who wander on and off the stage in bewilderment during the second...
Handel: Messiah (Elsie Suddaby, soprano; Marjorie Thomas, contralto; Heddle Nash, tenor; Trevor Anthony, bass; Luton Choral Society and Special Choir, Royal Philharmonic Orchestra, Sir Thomas Beecham conducting; Victor, 42 sides). Sir Thomas has here equaled-and the recording has surpassed-his great performance of the Messiah recorded over 15 years...
...ovatorio is a small work of Handel, but exceptionally lovely, especially in its word-coloration effects. That it did come through to the audience was a tribute to the finesse vocally and in diction of the combined choruses, the solid if unexciting virtues of bass soloist Paul Tibbetts, and the brilliant singing of Soprano Adele Addison...