Clamma's Complete Bess, Andre Times Two, Plus Minnie's Students And A Third Eye Secret Song!

Sing out, Clamma - and rejoice "Porgy And Bess" fans. Clamma Dale performed the role of "Bess" in the Houston Grand Opera's production of "Porgy And Bess" in 1976, and to say that this was a seismic turning point for the troubled Gershwin/Heyward show is a (huge) understatement. "Porgy and Bess," as you may know, was ignored for decades given its ill-fated Broadway debut in 1935, several lumpy revivals which hacked the score to pieces, and a stiff, unsatisfying movie version. No one, it seemed, could save it from obscurity.

Then the Houston Grand Opera changed everything. For the first time, the show was performed by an actual opera company, and the entire score was restored. Lucky for us, it was recorded in its entirety. If you've only heard the truncated 2012 Broadway version (which sounds a bit shrill) (to me) (you can't convince me otherwise), then get ready. This is the real thing.

Meanwhile, Mia Farrow better be super-careful (she should have listened to her psychic). After all, her baby could turn into a she-devil. Or worse, she might marry Mia's boyfriend. Look out, Mia, look out!

Luckily, Mia's previous marriage to composer, conductor and musician Andre Previn ended without much angst. Truthfully, I've never much liked Andre's work as a soundtrack composer (they all sound ham-handed) (to me) (you can't convince me otherwise). But his jazz work, ah, well, that's another matter. 

His 1957 take on Broadway's "Pal Joey" is wonderful light jazz, with Andre on the piano, Shelly Manne on drums and Red Mitchell on bass. You may not be familiar with all the songs from this show, but the ones you do know all but caper out with top hats. "Bewitched, Bothered And Bewildered," for instance, has rarely sounded so glowing. 

And just when things couldn't possibly get any better, they do. In 1962's "Duet," Andre's trio was joined by Doris Day. The entire LP is heaven, but it's the opening track, "Close Your Eyes," that'll send you into orbit. Andre's arrangement, Doris' singing; sometimes song and performance really are perfectly matched. 

The other night, at the insistence of my Cuban Luvuh, I watched "Hunky Dory," a 1970's-era tale about a plucky high school theatre director and her conflicted students (the no-good punk, check; the closeted 'mo, check; etc, etc.). 

The movie's 70's-era musical soundtrack - a Tye-Dye Cheerful Exclusive! - is a lot of fun. And the movie itself? I was expecting a warmed-over version of "Glee," except set in Wales, and allegedly "gritty," and while that's basically what it is, the performances are (so much) better, and the kind-hearted tone is genuinely felt. 

There's another big difference, too. The musical numbers are sometimes fantastic. And unlike the platinum-hearted "Glee," they can even send a shiver or two up your spine. Case in point is The Byrds' number "Everyone's Been Burned" performed by Darren Evans, a Welsh-born actor who portrays a twitchy, bug-eyed teen who's scarily tuned in to every bitter word of the lyric. The actor is so self-effacing that, for this number, at least, you almost feel like you're watching a documentary. 

The Secret Song File is always performing - on occasion, just for herself - sometimes here, sometimes there, sometimes in Glasgow, which is home base for a certain indie rock group (which for some odd reason hasn't had the commercial success it deserves). 

If you walk like a peasant or write about love, you may have heard of them. But be careful, that waitress you just short-changed may bring catastrophe, though honestly, given your third eye, you really should have known. And if you did, then you might also know the name of their terrif new CD. The Secret Song File does. And today, she's not just keeping it for herself. 

Some things really are better shared, don't you think? 

Share and share alike in the comments if the mood moves you. 

Porgy, Porgy, Porgy!

I've become obsessed lately with "Porgy & Bess," the Gershwin/Heyward opera first performed in 1935, then reshaped, revised and recut for subsequent generations, lately arriving as a passionless, if hotly controversial, Broadway musical. This new Broadway version reminded me that I'd never seen the 1959 movie adaptation with Dorothy Dandridge.

Surprisingly, the movie isn't available on DVD (or even a mangy VHS). Why? Because even though it's been selected for preservation by the U.S. National Registry, the Gershwin estate doesn't much like it, and so it's likely to remain unavailable until hell freezes over until they change their mind. Happily, I got my paws on a watchable bootleg.

Even though the movie is stagy to a fault - one can only imagine how much better it might have been if the boorish Otto Preminger hadn't replaced director Rouben Mamoulian - it does bring together a stellar cast, most of whom were reluctant to participate at all given the burgeoning civil rights movement.

The movie's story, which included drug dealing, poverty and prostitution, was regarded as racist, or at the very least, something that wouldn't exactly help the cause. Yet despite racially-charged content and the movie's clod-hopping direction, the cast deliver terrific performances.

And that includes not just Dorothy Dandridge and Sidney Poitier (Dandridge and Poitier had their singing dubbed by Adele Anderson and Robert McFerrrin) (yes, he was the father of Bobby McFerrin), but Pearl Bailey, Diahann Carroll, Maya Angelou, Geoffrey Holder and, of course, Sammy Davis, Jr., who nearly obliterates the movie's period setting by dancing and singing as if he were in a hot-cha! jazz-hands! Fosse musical (but he's allowed).

Better still is how plastic and bendable the score has become over the years, subject to endless rethinks and re-interpretations. My favorite these days is the one above by The Oscar Peterson Trio, which stays close to the score's melodies, but otherwise lightly gambols into its own springy jazz territory, especially during the inimitable "It Ain't Necessarily So," with a piano riff that's pure smooth-jazz delight.

In fact, it seems as if "Porgy & Bess" has become catnip to the best jazz vocalists and musicians . Everyone from Joe Henderson to Lena Horne to Louis Armstrong to Cab Calloway (on the "Porgy & Bess/Girl Crazy" twofer below) have put their mark on the Gershwin/Heyward opera.

Most of the LPs here are Cheerful Exclusives!, including a certain LP by a certain hot-cha! jazz-hands! performer who redeems his hammy movie turn with several surprisingly sensitive renditions from the score. And, yes, it helps a great deal that he's accompanied by Carmen McRae, whose version of "Summertime" ranks right up there with Lena's and Ella's and Adele's and Helen's and...the list seems infinite, doesn't it? It's an embarrassment of musical riches!

Which begs the question, if a woman is a sometime thing, what's a man?

If you ain't got no shame, leave a comment, why dont'cha?