Clap Yo Hands [EP]

1. Clap Yo' Hands [Video Edit]

2. Clap Yo' Hands [Kee Cee Clean Funky Mix]

Tracks:

Main Title (An American In Paris/'S Wonderful/I Got Rhythm) - MGM Studio Orchestra
Paris Narration/Left Bank (Themes From An American In Paris) - MGM Studio Orchestra
Nice Work If You Can Get It (Outtake) - Georges Guetary
Embraceable You - MGM Studio Orchestra
By Strauss - Gene Kelly, Georges Guetary, Mac MacLain, Grace Stark, Pete Roberts
Street Exhibit - MGM Studio Orchestra
I Got Rhythm - Gene Kelly, MGM Children's Chorus
But Not For Me - Benny Carter & His Orchestra
Medley: Do, Do, Do/Bidiin' My Time/I've Got A Crush On You/Love Is Here To Stay - MGM Orchestra
Someone To Watch Over Me - Benny Carter & His Orchestra
Medley: My Cousin In Milwaukee/A Foggy Day/The Half-Of-It Dearie Blues/But Not For Me (Outtake) - Oscar Levant
Tra-La-La - Gene Kelly, Oscar Levant
I'm No Enemy (Love Is Here To Stay) (Outtake) - MGM Studio Orchestra
Love Is Here To Stay - Gene Kelly
Medley: What Time Is It?/Love Is Here To Stay (Reprise) - MGM Studio Orchestra, Gene Kelly
(I'll Build A) Stairway To Paradise - Georges Guetary
I've Got A Crush On You (Outtake) - Gene Kelly
Love Walked In (Outtake) - Georges Guetary, Oscar Levant
Medley: We Would Get Married (Love Walked In) (Outtake)/I Don't Think I'll Fall In Love Today... - Oscar Levant, MGM Studio Orchestra
Concerto In F (3rd Movement) - Oscar Levant, MGM Studio Orchestra

Tracks:

Painting Montage (Tra-La-La/Love Is Here To Stay) - MGM Studio Orchestra
Kiss Me (Outtake) - MGM Studio Orchestra
'S Wonderful - Gene Kelly, Georges Guetary
Lise, I Love You ('S Wonderful/Love Is Here To Stay) - MGM Studio Orchestra
Strike Up The Band (Extended Version) - MGM Studio Orchestra
Liza (Complete Version) - Oscar Levant
Medley: Oh, Lady Be Good/'S Wonderful - MGM Studio Orchestra
Medley: That Certain Feeling/Clap Yo' Hands - MGM Studio Orchestra
I've Got A Crush On You (Outtake) - MGM Studio Orchestra
I Got Rhythm (Extended Version) - MGM Studio Orchestra
Tra-La-La (Outtake) - MGM Studio Orchestra
But Not For Me - Georges Guetary
Utrillo Did It (Love Is Here To Stay/An American In Paris/Nice Work If You Can Get It) - MGM Studio Orchestra
An American In Paris Ballet (Extended Version) - MGM Studio Orchestra
Finale (An American In Paris) - MGM Studio Orchestra
Painting Montage (An American In Paris) (Deleted Version) - MGM Studio Orchestra
Main Title: An American In Paris (Alternate Version - Outtake) - MGM Studio Orchestra
Adam Cook Monologue (How Long Has This Been Going On?) (Extended Version) - Oscar Levant
Nice Work If You Can Get It (Partial As Used In Film) - Georges Guetary, Oscar Levant
Third Prelude (Outtake) - Oscar Levant
My Cousin In Milwaukee (Outtake) - Oscar Levant
A Foggy Day (Outtake) - Oscar Levant
The Half-Of-It Dearie Blues (Outtake) - Oscar Levant
But Not For Me - Oscar Levant
Bidin' My Time (Outtake) - Oscar Levant, Saul Chaplin
'S Wonderful (Reprise) (Outtake) - Gene Kelly
Finale (Alternate Version - Outtake) - MGM Studio Orchestra

Amazon.com essential recording

This is a considerably expanded version of the soundtrack album to Vincente Minnelli's Oscar-winning film. With two discs and 100 minutes of music (much of which is presented for the first time), these original session masters are highlighted by the MGM Studio Orchestra, Oscar Levant, Benny Carter, and Gene Kelly, all of whom perform such memorable Gershwin tunes as "Someone to Watch Over Me," "Love Is Here to Stay," and "S'Wonderful." Just about all of the material has a monotonously mono sound, but Levant's version of "Concerto in F" is included here for the first time in true stereo. Along with several Levant improvisational piano solos based on Gershwin's music, there are also some outtakes as well as extensive production and historical notes. --Joseph Lanza

Customer Reviews:

Magic of love.......2007-03-10

Nothing but Gene and George: the hard work and the happiness in music, conducting by the magician Vince.
Noone is better, noone could do better.
American masterpiece with european feelings.

Filled with musical gems.......2004-02-17

This comprehensive edition is a must have for fans of the movie and of the Gershwins. The outtakes, contrary to the first review above, are excellent. Gene Kelly offers a wonderful vocal of "I've Got a Crush on You" and his short riff on "'S Wonderful" is almost like an acoustic version, much different than the over-the-top duet in the movie. And the Oscar Levant piano pieces are as close to George sitting down at the keys as we're going to get.

TOO LONG !!!!!!!!!!!.......2002-06-17

I would not suggest buying this version of this sondtrack!!! The underscores and the extra tracks that are not featured in the film are not neccesary. Rhino records puts the extras out to jack up the price of the CD (making one LP into 2 CDs).
I would buy the ORIGINAL CAST SOUNDTRACK released by MGM records. You will enjoy this version ever so much more without all the extras!!!

GERSHWIN'S TALENT.......2001-08-12

Many agree that the talented George Gershwin is a fabulous pianist, and alongside Ira, he helped to create some of the most beloved music ever. After viewing the movie that was filled with song and dance, I was pleased to discover that the soundtrack was readily available. The plot of An American in Paris mainly focuses on the lives of three friends and their dreams in addition to the romance that they encounter in the most popular European city. Gene Kelley is a struggling artist who soon falls in love, and the many songs in this cd express his emotions. Who wouldn't want to dance to Gershwin's spectacular tunes such as "Embraceable You?" These original songs included in this two cd set are well worth the price. Furthermore, "I'll Build a Stairway to Paradise" is a true favorite with unique lyrics. Don't miss out on this must have cd collection.

Ga Ga for Gershwin.......2000-12-13

Nearly every popular Gershwin tune is represented here, either as an instrumental, a vocal, or a production number. I am not a big fan of the film, but the soundtrack is fabulous. There are some stereo tracks here, too. Yet another triumph in the Turner/Rhino soundtrack collection of MGM films.As a sidenote I would like to thank Rhino for their extremely co-operative staff. When I bought this CD I opened up the very extensive booklet and was disappointed to find that due to an error on the assembly line I had received an insert that had some pages repeated and others deleted. I contacted Rhino and they sent me a new booklet which arrived within a week! That's what I call excellent customer service. The really neat thing is the fact that I have both booklets. The flubbed copy is sort of a collector's item to me.

Average customer rating:

The Best Recordings of George Gershwin's Piano Improvisations

Gershwin Plays Gershwin

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Gershwin Plays Gershwin: The Piano Rolls
The Gershwin Plays Gershwin: The Piano Rolls, Vol. 2
Reflection
Gershwin: Rhapsody In Blue/An American In Paris

ASIN: B000053HK5
Release Date: 2001-01-16

Tracks:

Swanee
Sweet And Low Down
That Certain Feeling
Looking For A Boy
When Do We Dance?
Do-Do-Do
Someone To Watch Over Me
Clap Yo' Hands
Maybe
My One And Only
'S Wonderful - Funny Face
Rhap In Blue
Prld No.1
Prld No.2
Prld No.3
Rhap In Blue: Andante
Second Rhap

Customer Reviews:

The Best Recordings of George Gershwin's Piano Improvisations.......2006-08-09

This low priced CD is the greatest presentation of George Gershwin's incredible improvisational skill, reworking his popular hits of the day into complex arrangements that can hold the interest of the 'most discriminating music lover.' These disc recordings are much more lifelike than the well known piano-roll CDs. On this Cd Gershwin's filled-in tenth cords in his left hand along with his consecutive four-note chord spreads to the octave with his right, cross rhythms, and virtuoso embellishments give the piano arrangements a full sound. The recording of 'Swanee' is a small 1919 group recording of the Van Eps Quartet with a young George Gershwin at the piano and Nathan Glantz on the saxaphone. The Van Eps Quartet plays in a yiddish sounding style which accents Swanee's rooting in yiddish music. The next recordings are of George Gershwin at the piano recorded in 1926 and 1928. This CD also includes the 1924 Paul Whiteman orchestra recording of 'Rhapsody in Blue' with the composer at the piano. The arrangement was shortened to about 9 minutes in order to fit onto the two sides of a 78rmp record, but I think this is the best recording of 'Rhapsody in Blue' ever recorded, because this was recorded when 'Rhapsody in Blue' was New, Exciting, and Full of Life. This recording lets the humor that was originally intended by Gershwin shine through. His own recording of his three preludes is the best rendition of the popular preludes. Gershwin stands as the best performer of his own works, and this CD is the best example of his own playing. The improvisations of his show tunes on this CD are much more fleshed out than his brief radio recordings available elsewhere, although I recommend trying to find all of his recordings. Gershwin's solo piano arrangement of the Andante section of Rhapsody in Blue is another opportunity to hear George play his own material. The last recording on the disc is a 1931 rehersal of 'Second Rhapsody' which George Gershwin had recorded onto disc by NBC for him to listen to. Once again, George Gershwin is the best interpreter of his own works, and this CD is the best document of Gershwin playing Gershwin.

Fascinating Rhythm: The Complete Music for Solo Piano by George Gershwin

Average customer rating:

Fascinating Rhythm: The Complete Music for Solo Piano by George Gershwin

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Gershwin Plays Gershwin: The Piano Rolls
Gershwin: Piano Music

ASIN: B00000J80E
Release Date: 1999-06-08

Average customer rating:

Excellent performer
A unique project
Gershwin historical, manic, perfect, archival
Definative

Authentic George Gershwin, Vol. 1-4

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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George Gershwin: His Life and Work

ASIN: B0001Z2RSC
Release Date: 2004-08-24

Tracks:

Swanee
Come To the Moon
I Was So Young (You Were So Beautiful)
Tee-Oodle-Um-bum-Bo
Nobody But You
Limehouse Nights
Drifting Along With The Tide
Rhapsody In Blue
Oh Lady Be Good!
Fascinating Rhythm
Hang On To Me
I'd Rather Charleston
The Man I Love
The Half Of It, Dearie, Blues
So Am I
Kickin' The Clouds Away
Concerto In F

Tracks:

Sweet And Low-Down (I)
That Certain Feeling (I)
Looking For A Boy
When Do We Dance?
Sweet And Low-Down (II)
That Certain Feeling (II)
Irish Waltz
Do, Do, Do
Someone To Watch Over Me
Clap Yo' Hands
Maybe
Three Preludes: I. No.1: Allegro Ben Ritmato E Deciso / II. No.2: Andante Con Moto / III No.3: Allegro Ben Ritmato E Deciso
Meadow Serenade
My One And Only
'S Wonderful/Funny Face
He Loves And She Loves
An American In Paris
Liza
Strike Up The Band
Embraceable You
I Got Rhythm (I)
I Got Rhythm (II)

Tracks:

Of Thee I Sing
Jilted
Second Rhapsody
For You, For Me, For Evermore
Cuban Overture
Isn't It A Pity?
Variations On 'I Got Rhythm'
I. Catfish Row: Introduction - Jazzbo Brown - First Chorus, 'Summertime'
II. Porgy Sings: 'I got Plenty O' Nuthin' - 'Bess, You Is My Woman Now'
III. Fugue: Murder Of Crown, Act III Scene 1
IV. Hurricane: Introduction, Act II Scene 3 - Hurricane, Act II Scene 3
V. Good Morning, Brother: Occupational Humoresque, Act III Scene 3 - 'Good Morning, Brother' - Children's Song 'Sure To Go To Heaven' - 'I'm On My Way' (Finale)
They Can't Take That Away From Me
Let's Call The Whole Thing Off
Our Love Is Here To Stay

Tracks:

Girl Crazy Overture
French Ballet Class
Dance Of The Waves
Slap That Bass
Walking The Dog
I've Got Beginner's Luck
They All Laughed
They Can't Take That Away From Me
Shall We Dance
By Strauss
I Can't Be Bothered Now
The Jolly Tar And The Milkmaid (1st Version)
Put Me To The Test
The Jolly Tar And The Milkmaid (2nd Version)
Stiff Upper Lip
A Foggy day (In London Town)
Nice Work If You Can Get It
Things Are Looking Up
I Was Doing All Right
Love Walked In

Customer Reviews:

Excellent performer.......2007-03-09

This plates are wonderful. I was charmed, and when I close my eyes now, I see scenes with American in Paris or Porgy and Bess but my favorite piece of music is Rhapsody in Blue. It's more than excellent is fantastic. Jack Gibbons perfectly feels the unique tone Gershwin's music, the mixture rythms of jazz with influences of impressionists and clear and beauty melodies.
I'm fascinating.

A unique project.......2006-11-23

Gibbons' undertaking is unique: to reconstruct and then execute and record the note-for-note playing of Gershwin as documented on the composers' piano rolls, sound recordings and certain published arrangements. I agree with the reviewer who points out that the result is like a library and not a recital you sit back and listen to (or get up and dance to). In fact Gibbons does some editing of his "library" now and then, and clearly documents it in his liner notes: in some reconstructions he augments accompaniment effects and even the melodic line itself. I don't mind that at all, especially as Gibbons scrupulously accounts for such tampering in his liner notes; but it seems to me that it is in this area of "tampering" that Gibbons the artist is asserting himself...which of course undermines the "library", the "historical archive": you have to search and read a bit to find out when you're hearing only Gershwin and when you're hearing some added Gibbons. I don't mind; Gibbons is a remarkable artist in his own right, not merely an impeccable documentarian. For sheer generosity of production Gibbons' Gershwin must also be unique: 4 cd's, scholar-level liner notes (yes, you need a magnifying glass to read them), and rock-bottom bargain price.

Gershwin historical, manic, perfect, archival.......2006-06-12

First: this is 4 high-end produced cd's (in low-end jewel cases) for the price of 2. The liner notes of all 4 cd's are condensed in a booklet of microscopic print, so you may need to spend the savings on a magnifying glass. MONEY WELL SPENT.
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.

Definative.......2005-07-23

Here's the whole Gershwin catalog at a great price... Five plus hours of bliss. Definately five stars!

Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.

Average customer rating:

stunning studio recording of a long-lost show...
Oh Kay: Superb

Oh, Kay! (1955 Studio Cast)
Ira Gershwin
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Girl Crazy (1951 Studio Cast)
Of Thee I Sing / 1952 O.C.R.
Pipe Dream (1955 Original Broadway Cast)
Lady, Be Good! (1992 Studio Cast Recording)
A Tree Grows In Brooklyn (1951 Original Broadway Cast)

ASIN: B00000DHSJ
Release Date: 1998-11-10

Tracks:

Act I: Overture
The Woman's Touch
Don't Ask
Dear Little Girl
Maybe A
Clap Yo' Hands
Do, Do, Do
Bride And Groom
Someone To Watch Over Me
Fidgety Feet
Heaven On Earth
Oh, Kay!
Finale
Maybe (Bonus Track)
Someone To Watch Over Me (Bonus Track)
Clap Yo' Hands (Bonus Tracks)

Customer Reviews:

stunning studio recording of a long-lost show..........2001-12-21

OH, KAY!, a musical rarity from the 1920's, is given a beautiful treatment here in a studio recording made in 1957 that captures the feel and excitement of those heady days.

The golden-voiced Barbara Ruick heads this recording. Ms Ruick played the role of Carrie Pipperidge in the 1956 film version of CAROUSEL (soundtrack on Broadway Angel). She gives a delightful performance here; her voice well-suited to the melodious songs of George and Ira Gershwin.

Jack Cassidy gives a splendid reading of "Dear Little Girl" and "Heaven On Earth"; while Ruick gives a thrilling rendition of the quintessential flapper tune "Do, Do, Do".

With game support from Allen Case and Roger White, this recording of OH, KAY! is a must for all musical fans.

Oh Kay: Superb.......2000-07-04

This cast does a wonderfully with this most tuneful of the Gershwin musicals. As distinct from some other versions of the 1920's Gershwin musicals they do not make it out to be camp, or burlesque the 20's style in any way, They treat the material seriously, and the result is a joy to the ear. Cassidy and Cassidy's duets are simply beautiful music.

Tracks:

Tip-Toes: Sweet And Low-Down (I)
Tip-Toes: That Certain Feeling (I)
Tip-Toes: Looking For A Boy (I)
Tip-Toes: When Do We Dance? (II)
Tip-Toes: Sweet Low-Down (II)
Tip-Toes: That Certain Feeling (II)
Irish Waltz (Three-Quarter Blues)
Oh, Kay!: Do,Do,Do
Oh, Kay!: Someone To Watch Over Me
Oh, Kay!: Clap Yo' Hands
Oh, Kay!: Maybe
Three Prlds: No. 1, Allegro Ben Ritmato E Deciso/No. 2, Andante Con Moto/No. 3, Allegro Ben Ritmato
Strike Up The Band: Meadow Serenade
Funny Face: My One And Only
Funny Face: 'S Wonderful/Funny Face
Funny Face: He Loves And She Loves
An American In Paris
Show Girl: Liza
Strike Up The Band: Strike Up The Band
Crazy Girl: Embraceable You
Crazy Girl: I Got Rhythm (I)
Crazy Girl: I Got Rhythm (II)

Customer Reviews:

"Authentic"? George Gershwin?.......2003-09-26

I was instantly dissapointed in the mechanical, yet inaccurate rhythms. His interpretation of piano roll performances is not accurate because the beat is not even. In his non-piano roll performances, there is still a lot of unevenness, and it is hard to hear the beat. In those wonderful Gershwin syncopations that trick you, he is tricked and doesn't maintain the proper rhythm. The "American in Paris" is perhaps the most interesting, and shows the most artistic playing, although it still lacks subtlety. I would have prefered to hear the actual piano rolls as mechanical as they are, or other old recordings, and have a better idea of what was really happening in the music.

Authentic Gershwin.......2001-05-30

Jack Gibbons captures the flair and exhuberance of Gershwin's style.

Excellent performer.......2000-01-17

After seeing Jack Gibbons in concert, I can see why the Gershwin family trusted him with the original works for Jack to master. Truly a collection to own. There are 4 CD's.

Average customer rating:

Funny Face: 'S Paradise
somewhat dissapointing
"Paramount's only MGM Musical"
This album is truly enjoyable
FUNNY FACE really is "S'Wonderful"!!!

Funny Face (1957 Film)
Ira Gershwin
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Music From The Films Of Audrey Hepburn
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ASIN: B00000472J
Release Date: 1996-04-23

Tracks:

Overture; Funny Face/'S Wonderful/Think Pink - Fred Astaire/Audrey Hepburn/Kay Thompson
How Long Has This Been Going On? - Audrey Hepburn
How Long Has This Been Going On? (Instrumental) - Fred Astaire/Audrey Hepburn/Kay Thompson
Funny Face - Fred Astaire
Bonjour, Paris! - Fred Astaire/Audrey Hepburn/Kay Thompson
Clap Yo Hands - Fred Astaire/Kay Thompson
He Loves And She Loves - Fred Astaire
Bonjour, Paris! (Instrumental) - Fred Astaire/Audrey Hepburn/Kay Thompson
On How To Be Lovely - Fred Astaire/Kay Thompson
Basal Metabolism - Fred Astaire/Audrey Hepburn/Kay Thompson
Let's Kiss And Make Up - Fred Astaire
'S Wonderful - Fred Astaire/Audrey Hepburn

Customer Reviews:

Funny Face: 'S Paradise.......2007-03-23

I was never a real `fan' of musicals until I saw Funny Face. Even then, it took a second viewing for it to really sink in. While not as exuberant as Singin' in the Rain or as grandiose as My Fair Lady, it holds a special place in Audrey Hepburn's heart as one of the most enjoyable performances of her career--and it shows. Audrey only had to play herself to portray Jo, the pearl trapped inside the shell of self-doubt. In many ways, this mirrored her real life at the time. Reflecting her desire for something light after the grueling War & Peace of 1955, the film is bursting at the seams with energy throughout.

Sound quality-wise, the recording does leave a little to be desired. Though not pulled directly from the film as some may indicate, but rather the recording sessions that make up the film's soundtrack, it is identical to what you'll hear while watching it. This would be a prime candidate for a remaster.

On to the tracks! If you're reading this review, you have probably seen the film, but I feel like writing a bit for each one as a reminder.

1) Overture: Funny Face/'S Wonderful/Think Pink

Welcome to Funny Face! As the track begins, the listener expects an orchestral arrangement of the highlights; however, Fred Astaire politely interjects. We're treated to a slightly up-tempo and jazzier version of the title track, which melds into a dreamlike choral interpretation of "`S Wonderful". Also included is Kay Thompson's classic "Think Pink," which makes you wonder why it didn't receive a track of its own.

2) How Long Has This Been Going On?

A close tie with Moon River as my favorite vocal performance of all time from Audrey Hepburn, "How Long..." encapsulates the essence of Jo at the beginning of the film. Endearingly melodramatic, it is a very meticulous performance that places importance in every word, their pace, and placement. The orchestral interlude late in the song brings up the memory of Jo's unforgettable scene dancing with herself and the hat left behind in the wreckage of her bookshop.

3) How Long Has This Been Going On? [Instrumental Reprise]

A short postscript accompanies the performance involving a delicate clarinet lead following the melody of the title lyric, floating on a soft backdrop of intermittent strings.

4) Funny Face

Earning its distinction as the lightest and most unassuming number on the record, the title track melds the ballroom elegance and zest of its music with the silly, cheerful spirit of its subject matter: "You fill the air with smiles, for miles and miles and miles." My favorite part of the song is the step-ladder ascent of the strings, climbing up the scales at the climax--perfect!

5) Bonjour, Paris!

My favorite song on the record! "Bonjour, Paris!" is a boisterous, energetic production; in a word, BIG. It starts out with what sounds almost like the beginning to a national anthem, and leads into a snippet from the film--Jo, Dick, and Maggie display a false air of indifference to Paris upon arrival, perhaps to impress one another with their worldliness. Once separated, their true tourist curiosity is revealed. Thus begins a romanticized jaunt into Paris led by our three explorers, starting first with Dick: "I want to step out, down the Champs-Elysées..." Conspicuously (and deliberately) left absent is the Eiffel Tower, recognized by our three protagonists later in the song: "There's something missing, I know; there's still one place I gotta go," whereupon they discover the same "strictly tourist" nature in each other and embrace it. If this song doesn't put a smile on your face, I'm afraid there's little hope that anything will.

6) Clap Yo' Hands

If each of our three stars has a signature performance on the album, "Clap Yo' Hands" is unequivocally Kay Thompson's. A spicy mixture of swing, jazz, and blues, peppered occasionally with scat vocals for good measure, the track is perhaps the most uncharacteristic and unexpected. It fits into the story through Dick and Maggie posing as the flamboyant, country-fried pair from "Talluh-hassee" in order to gain admittance to the empathicalist gathering. In the middle of the song comes one of my favorite moments in the film: after the brash "ringa dem bells" section, the music comes to an immediate halt. What directly follows is a light, lilting melody accompanied by a hilarious synchronized jig by the actors: "Why, we's the two most friendly vibrations you ever seen." Thompson proves herself to be a force to be reckoned with vocally, demonstrated by the surprisingly high note she hits at the end. Another track sure to make the surliest of surlies crack a smile.

7) He Loves and She Loves

The most romantic song on the album, "He Loves and She Loves" is an ethereal, nearly percussion-less expression of Dick's falling in love with Jo, structured around a clever conjugation theme that reminds me all too well of my foreign-language class days. The delicate orchestral interlude, to allow for the dance, sharpens into a climax in a decidedly dissonant way, resulting in one of the albums few flaws. However a single, wistful violin saves the day and tastefully leads the listener to the close of the song.

8) Bonjour, Paris! [Instrumental Reprise]

Ira Gershwin presents us with a snappy jazz-fusion interpretation of "Bonjour, Paris," barely over a minute, and headed up by a marimba and saxophone leads. A light, brush-like snare drum and the occasional piano contribution are the supporting actors. If you didn't know better, you'd swear this was a Mancini piece written for Breakfast at Tiffany's.

9) On How to Be Lovely

"On How to Be Lovely" is the cutest track in the list. Featuring Thompson and Hepburn, it is an ambitious mid-tempo stage number with less emphasis placed on the band as compared to other songs to accentuate the vocal performances. Thompson's character, Maggie, takes on an almost motherly role to Jo (her parents are left a mystery to the viewer), demonstrating how to be "lovely" when she gets her first taste of fame. Maggie sings her teachings to the budding model, which are then repeated by Jo in true pupil fashion. Their two vocals occasionally meet into a pleasant harmony, and the "doo-wee-oo" sections prove to be delightfully charming.

10) Basal Metabolism

The only true instrumental on the album (barring, of course, the short instrumental reprises), "Basal Metabolism" is at first a disjointed exploration of avant-garde jazz. It is loosely based around the melody of "How Long Has This Been Going On," and conjures up images of a dimly lit, cigar smoke-filled gentleman's club. A minute or so into the song, as demonstrated in the film, a bass string is lifted at an exaggerated height and released, which begins a pluck-pluck rhythm, slowly evolving into a high-energy swing-jazz rendering of the song "Funny Face."

11) Let's Kiss and Make Up

Though the placement of this song belies its appearance in the chronology of the film, I feel the decision to place it as essentially the last song is well merited--for some reason, it just feels right that way. As I mentioned before, each of the stars had their signature moment in the soundtrack, and this is without a doubt Fred Astaire's. It shows his sweet nature, both on camera and off, and his incredible dance routine in the film proved to audiences this old favorite still "had it." The song has lovely flowing sections as well as staccato stop-start rhythms that are reflected in his dance steps. Midway into the song, the melody turns to an alarming tone indicative of a Spanish bullfighter, humorously acted out by Astaire.

12) `S Wonderful

And this, folks, is the icing on the cake. A dreamy, feather-light melody reminiscent of "He Loves and She Loves," it is a love song that plays upon the slang of those who speak too fast to let articulation catch up: `S Wonderful, `S Marvelous that you should care for me. As Dick and Jo have their final dance in the chapel yard, the orchestra takes over the last half of the song, culminating in an extravagant finish.

Above all, if you're anything like me, the soundtrack to Funny Face will make you happy, no matter what mood you're in. I can't think of any other recording that has such an effect on me. We need to be reminded every so often not to take life too seriously.

somewhat dissapointing.......2006-05-31

I agree mostly with the other reviews, but am amazed that none mentions the glaring omission from this soundtrack Kay Thompson's show stopping number "Think Pink". It is even more disappointing when one realizes how this soundtrack was created. Taking the people who sung the songs in the movie into a recording studio, and re-recording the score, with a full orchestra behind them, is the way some motion picture soundtracks are created. Sometimes, as in the case of "Funny Face", sound engineers simply lift the musical numbers from the audio track of the film, and transfer them onto new tape to create the soundtrack one buys in the stores. So, what you hear at home on your stereo is exactly what you hear when you watch the film.
This being the case with "Funny Face", how easy it would have been to transfer Kay's wonderful number. I could have understood if they'd re-recorded it and she was unavailable, but since all they had to do was take a song already recorded and transfer it, I cannot. If you haven't seen the film, watch for this tune early in the picture and you will see what I mean, and perhaps you'll be as disappointed as I am at the decision to exclude it from the soundtrack, and will understand why I can only give 3 stars to an album I would have otherwise given 5 to.

"Paramount's only MGM Musical".......2006-04-10

Paramount Studios made attempts @ musicals but could NEVER achieve the magic made consistantly by MGM, except this time. (Maybe having MGM's Astaire, Thompson, Donen, Edens, etc. didn't hurt). A delicious confection for any Musical fan. You can't go wrong with such class and grace and EXPERTISE on every level. ENJOY!

This album is truly enjoyable.......2005-02-08

This album represents one of the last of the Hollywood musicals.It is a very enjoyable soundtrack with the beautiful music of George Gershwin,the dancing of Fred Astaire,and the stunning presence of Audrey Hepburn. There are some very interesting songs that this album has;one of them,'How long has this been going on' is sung none other than Audrey herself,and she does an admiringly good job singing it.There is another song that Audrey and Kay Thompson sing-'On how to be lovely'-this song sounds fantastic. Beautiful music,beautiful dancing, and beautiful actors-what a perfect combination!I highly recommend this movie,and I'm sure you'll agree,you'll like it as much as I do.

FUNNY FACE really is "S'Wonderful"!!!.......2003-11-26

FUNNY FACE is still regarded as one of the most enjoyable movie musicals ever made, with a top-notch cast headed by Fred Astaire, Kay Thompson and Audrey Hepburn, with a perfect Paris location. The soundtrack album of the film is a particular delight.

Fred Astaire croons and breezes his way through numbers like the Title Song, "S'Wonderful" and "Let's Kiss and Make Up". Legendary song-stylist and arranger Kay Thompson (who had also worked as a vocal coach to many of the big M-G-M musical stars) brings down the house with her show-stopping "Think Pink", as well as her engergetic 11 o'clock number "Clap Yo' Hands". She later instructs Audrey in the finer points of womanhood in "On How to Be Lovely".

Audrey Hepburn is charming as Jo Stockton, the 'dowdy, bookish intellectual shopgirl' (as she was referred to in the original ad campaign for the film), and sings an affecting version of "How Long Has This Been Going On?", and joins Astaire and Thompson for "Bonjour Paris!", a fast-paced valentine to the City of Lights.

Tracks:

Caravan
America
Nobody Knows the Trouble I've Seen
Clap Yo' Hands
Theme from "The Pink Panther"
Moonlight Serenade
The Flower Is a Key
Gershwin Prelude No. 2
Amerika 2002, In Memorium, Pt. 1
Amerika 2002, In Memorium, Pt. 2
Deep River
Ragtime
Spain
'Round Midnight

Amazon.com

Simon Rattle leads the 12 Cellists of the Berlin Philharmonic beyond their popular South American Getaway project with this trip north of the border, where they mine the sounds of American jazz, popular song, spirituals, and film themes. The results are varied, and the tracks that work best may surprise you. Chick Corea's "Spain" begins as a moving lament, but unfolds to become sweeping, grand, and celebratory. The Pink Panther theme is a lightweight but fun romp through the familiar tune (the cellists even do a little whistling while they work). Meanwhile, the oddest cut has to be Sergio Cardenas's "The Flower Is a Key (A Rap for Mozart)," on which Sir Simon Rattle himself performs both spoken word and conducting duties (he's far better at conducting). All in all, this is a pleasant, relaxing album of timeless pop favorites. --Jason Verlinde

Customer Reviews:

Round Midnight.......2007-01-04

Very good cello pieces. Not commonly heard on recordings. A treat!!

The Fascinating George Gershwin [Hybrid SACD]

Average customer rating:

The Fascinating George Gershwin [Hybrid SACD]

Manufacturer: Pentatone
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
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Brothers in Arms

ASIN: B00012FN4U
Release Date: 2004-07-20

Average customer rating:

Gershwin plays Gershwin
An Essential Gershwin Collection, Despite Variable Sound
The first disc especially is fantastic

Plays George Gershwin

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

General | Pop | Styles | Music

General | Oldies | Pop | Styles | Music

Traditional Pop | Oldies | Pop | Styles | Music

Tin Pan Alley | Oldies | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Soundtracks | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music
ASIN: B000000WW1
Release Date: 1994-03-22

Tracks:

Rhapsody In Blue
Hang On To Me
Fascinatin' Rhythm
The Half Of It Dearie Blues
I'd Rather Charleston
Sweet And Low Down
That Certain Feeling
Looking For A Boy
Looking For A Boy
Do-Do-Do
Do-Do-Do: Someone To Watch Over Me
Clap Yo' Hands
Maybe
My One And Only
Three Preludes
'Rhapsody In Blue': Andante
S' Wonderful & Funny Face
Rhapsody In Blue

Tracks:

An American In Paris
Porgy And Bess: It Ain't Necessarily So
Porgy And Bess: The Buzzard Song
Porgy And Bess: Scene: Summertime - Crapgame - A Woman Is A Sometime Thing
Porgy And Bess: Bess, You Is My Woman Now
Porgy And Bess: I Got Plenty O' Nuttin
Porgy And Bess: Where Is My Bess?
Porgy And Bess: Summertime
Porgy And Bess: My Man's Gone Now
Porgy And Bess: Concerto In F - Third Movement
Porgy And Bess: Song Medley With Chorus And Orchestra: I Got Rhythm & Of Thee I Sing

Amazon.com

The first of these two discs gathers all Gershwin's commercially issued discs as a pianist, including the two abridged Rhapsody in Blue traversals, Gershwin accompanying the Astaire siblings, and twelve solo sides. Hearing the composer play his own music is like getting your ears cleaned out from 75 years of interpretive maulings. Gershwin's crisp touch, clear-cut and unsentimental phrasing, and rhythmic verve comes through more convincingly in these flat discs than in his much-vaunted piano rolls. Also included are the composer-supervised first recordings of An American in Paris and selections from Porgy & Bess, along with a flawed yet revelatory aircheck of Gershwin playing the finale of his concerto. No Gershwin lover should be without this important collection. --Jed Distler

Customer Reviews:

Gershwin plays Gershwin.......2006-01-26

George Gershwin's best-selling recording was a 1924 acoustical, black seal Victor disc that reproduced the recent world premiere of Gershwin's "Rhapsody in Blue." The Paul Whiteman Orchestra, which actually a big band with a few strings added on occasion, joined the composer in an edited performance that was intended to fill two sides of a single 12-inch 78-rpm disc. By 1924 the acoustical process had been refined to its highest possible standards; already Victor and Columbia were among the companies experimenting with electrical recording and would begin releasing commercial discs the following spring.

Although one is disappointed with the cuts in the familiar "Rhapsody in Blue," what did make it onto the original disc is quite remarkable. It certainly gives the first clear indication of Gershwin's brilliant piano playing. No one would ever play Gershwin's music with more enthusiasm and ability than the composer himself. The Whiteman orchestra plays Ferde Grofe's original arrangement and gives a clear indication of what the February 1924 premiere must have sounded like, even if the sonics are somewhat limited by the acoustical process. Only three years later Victor reunited the same musicians with Gershwin for an electrical recording, using the same cuts.

Gershwin's numerous piano solos, sometimes including his friends Fred and Adele Astaire (who had introduced some of the Gershwin songs in his musical comedies), are amazing. His virtuoso piano playing astonishes us and, for the most part, the sound on these early electrical recordings is quite good. A single microphone was usually placed close to the grand piano, picking up the best possible sound of that time.

The world premiere recording of "An American in Paris" was made in 1929 for RCA Victor, using a hand-picked orchestra that was conducted by Nathaniel Shilkret, Victor's longtime musical director. Gershwin was on hand, supposedly to supervise the recording of the complete score, but he reportedly "got in the way" and was asked to leave the recording studio. Then it was recognized that there was no one on hand to play the celesta solo, so Gershwin was asked to return and play the brief but impressive passage that adds to the magical moments of this innovative score. Also included were the original Paris taxi horns that Gershwin had brought back with him in 1928 for the first performance.

Alexander Smallens conducted Metropolitan Opera stars Helen Jepson and Lawrence Tibbett and a professional orchestra in excerpts from Gershwin's latest musical triumph, "Porgy and Bess." Although the folk opera had not yet achieved its later great success, many recognized the innovations of this score and RCA Victor asked Gershwin to supervise the recording of some of the important songs from his opera in 1935. While some may question the use of white singers to sing in Negro dialect, particularly when the first performances used a mostly black cast, not even the Metropolitan Opera used black singers until 1955 when Marian Anderson made her long-awaited debut in Verdi's "A Masked Ball."

Finally, there is a tantalizing excerpt from the "Concerto in F" in a special arrangement for Rudy Vallee's radio program on NBC. Gershwin occasionally appeared on radio programs, even hosting his own 15-minute show in the early 1930's, and this is one of the few surviving examples of how Gershwin could dazzle both the studio audience and the millions tuning in on their radios. It is a wonderful moment.

An Essential Gershwin Collection, Despite Variable Sound.......2005-05-14

That Gershwin (1896-1937) died so young from a malignant brain tumor was a tragic loss to the world of music. Like Mozart and Schubert, who also died while still in their 30's, Gershwin was just hitting his stride at the time of his death. Unlike Mozart, he wrote no symphonies or chamber music, but like Schubert, he was one of the greatest song writers the world has ever known. And as the Rhapsody in Blue and Concerto in F clearly demonstrate, Gershwin was probably the greatest "cross-over" artist in American history.

This 2-disc Pearl CD set, as Amazon editorial reviewer Jed Distler points out, is an essential purchase for anyone who loves Gershwin's music. Pearl adheres to an "as is" philosophy of transferring old 78 rpm records to CD. This results in very immediate sound, but a lot of shellac noise comes along with it. With a little twiddling of your treble knob, these performances are very listenable and thoroughly enjoyable.

To my mind, just about everything here falls into the category of "definitive" performance. The 1924 Rhapsody In Blue has more joy and exhilaration than any other recording made (and Gershwin's piano playing is heard more clearly than in the 1927 electrical re-make, fine as it is). It was recorded just four months after the world premiere at Aeolian Hall in New York City. What an event that must have been! The audience included such luminaries as Rachmaninov, Kreisler & Sousa. When the performance was finished, the audience roared its approval with a standing ovation that lasted 20 MINUTES!

The songs with Fred Astaire and his sister Adele are utterly delightful, and Gershwin's solo piano playing strikes me as a far truer representation of his art than his notoriously unreliable piano rolls available elsewhere. "An American in Paris," conducted by Gershwin's boyhood chum Nathaniel Shilkret, is irresistable (Gershwin even plays the small parts for piano & celesta, and the car horns he brought back from Paris are used here).

The original 1935 "Porgy and Bess" excerpts, conducted by Alexander Smallens, are wonderful. Jepson is excellent, but the real star here is Lawrence Tibbett, to my taste the greatest operatic baritone America has ever produced. His enormous charm is complemented by fabulous diction - he's one of the very few "classical" singers whose every word is clearly understandable.

Gershwin never recorded a complete Concerto in F. For the best-ever version of that, you have to buy the Roy Bargas/Bix Beiderbecke/Paul Whiteman account on a Pearl CD called "Gershwin and Grofe," which also has the first-ever recordings of Grofe's Grand Canyon & Mississippi Suites (a lot of fun!). But here we get to hear the ONLY CD account of Gershwin himself playing just the 2nd mvt. from a 1933 Rudy Valle Show radio broadcast. It's fascinating and frustrating at the same time: a tantalizing fragment of what must have been a glorious interpretation.

The Concerto in F excerpt is UNIQUE to this CD - which makes it a MANDATORY purchase for Gershwin lovers. The Rhapsody (both versions), American in Paris, and the Porgy selections are also on Sony's "Historic Gershwin Recordings" in somewhat smoother transfers. The aforementioned Whiteman-conducted Concerto in F is also on a Sony CD called "From Gershwin's Time" (sadly, it's out of print - see my review).

CDs seem to have an alarmingly short shelf life these days, so grab this wonderful set while it's still available.

Very Highly Recommended.

The first disc especially is fantastic.......2001-04-03

For Gershwin collectors, the sides with the Astaires are essential. The Whiteman Rhapsody is also quite good. Some of the later material does NOT feature Gershwin on piano and has the feeling of filler. Still, I've gotten a lot of enjoyment from this collection.

Dance Music:

Dance Music

dance music

Dance Music

Angel Station

Glinka/Field/Hassler/Lizogub: Piano Music

Futuristic Sounds of Sun Ra [Import] [Limited Edition]

Dmitri Shostakovich: Symphony No. 5

Fields of the Young [Import]

Heritage

Current State

Greatest Hits Live [Live] [Original recording remastered]

Guajira with Boogaloo

Vagn Holmboe: Symphonies Nos. 8 & 9

The Best of Ella Fitzgerald