CD1
The Sound Of The Sauter-Finegan Orchestra
1.Child’s Play
2. Horseplay
3. Time To Dream
4. The Honey Jump
5. Nina Never Knew
6. Love Is A Simple Thing
7. Tweedle Dee And Tweedle Dum
8. Stop Beatin’ ‘round The Mulberry Bush
9. Now That I’m In Love
10. Yankee Doodletown
Inside Sauter-Finegan
11. Four Horsemen
12. Old Folks
13. How About You?
14. 10,000 B.C.
15. Wild Wings In The Wood
16. Finegan’s Wake
17. Autumn Leaves
18. Eddie & The Witchdoctor
19. New York…4 A.M.
20. Pennies From Heaven
21. September’s Sorrow
22. When Two Trees Fall In Love
23. The “Thundisbreak” (The Thunderer)
CD2
Under Analysis
1. Avalon
2. Chant Of The Weed
3. Star Dust
4. Got A Date With An Angel
5. Rockin’ Chair
6. Liza
7. Thinking Of You
8. In A Mist
9. I Get A Kick Out Of You
10. It’s A Lonesome Old Town
11. How Am I To Know
Straight Down The Middle
12. The Surrey With The Fringe On Top
13. Paradise
14. Sunshine Girl
15. Alright Already
16. Have You Met Miss Jones?
17. Whirlpool
18. Aren’t You Glad You’re You?
19.When A Woman Loves A Man
20. Scotch And Sauter
21. These Foolish Things
22. Straight Down The Middle
Early in the 1950s, a new sound hit listeners’ ears. It was created by two experienced arrangers: Eddie Sauter (who had written arrangements for Benny
Goodman, Woody Herman and Artie Shaw) and Bill Finegan, who had arranged for Glenn Miller and Tommy Dorsey. Although those arrangements had been
comparatively conventional, the new sound they created together was fresh and unique. They used large numbers of musicians and introduced numerous
instruments seldom heard in big-band music, including the tuba, celeste, fife, oboe, kazoo, toy trumpet and a wide range of percussion. The large ensemble
enabled the group to include a great deal of interesting counterpoint as well as creating deep and complex textures. Several tracks are vocals, some with
whole choral groups, which are more conventional than the instrumental pieces. Featured vocalists Joe Mooney, Sally Sweetland and Andy Roberts acquit
themselves well. §c§ § doesn’t appear in this collection. Neither do other successful singles, such as The Moon Is Blue and Midnight Sleighride. It makes one wish that Avid had made this collection “Three Classic Albums Plus” so as to include the omitted items.
Nevertheless, the first disc includes Yankee Doodletown, which is very much in the style of Doodletown Fifers.
The emphasis on ensembles means that there is less room than in many big bands for individual improvisation. But the band included so many talented
musicians that their individuality often shines through. Several tracks feature particular musicians – notably Joe Venuto on marimba performing Bix
Beiderbecke’s In A Mist. And a track like How About You? includes fine solos from trumpeter Nick Travis and guitarist Park Hill.
One possible drawback of such ambitious arrangements is that they might seem solemn or pretentious. Yet Sauter and Finegan clearly have a sense of humour,
which is evident in their cheery tongue-in-cheek approach to some tunes. Critics have even compared some of their music to that of Spike Jones, probably
because of the many weird and wonderful sounds they conjure up, especially from the multifarious percussion. This is illustrated by the first two tracks on
the second CD. Avalon is performed as a tearaway samba, with bells and chimes strongly in evidence. Don Redman’s Chant Of The Weed uses
woodblocks and deep brass to conjure up a sense of mystery.
It is good to be reminded by this double album of the short-lived but enterprising achievements of two gifted arrangers and the brilliant musicians they
assembled to fulfil their unusual vision.
Tony Augarde
www.augardebooks.co.uk
CD Reviews
