Word: albums
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Dates: during 1960-1960
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...Marianne Roney discovered that she was not cut out to be an Organization Woman-at least not with Period Records, where she worked writing album notes. Unable to persuade her bosses to record some far-out releases, such as medieval music or modern U.S. poetry ("Let's do medieval American poetry," burbled one executive), Marianne quit and formed Caedmon* Records to produce talking records that would not talk down to their audience. Her partner: Barbara Cohen, a classmate at New York City's Hunter College. Last week, eight years and some 200 releases later, the latest Caedmon albums...
...favorite songs on the album are All My Trials, one of Miss Baez's first songs, and Donna Donna, a rather new one. Musicologists say that All My Trials originated years ago in the South, but it was rediscovered in the Bahamas. Miss Baez sings the lullaby with amazing warmth and tenderness. Fred Hellerman (of the Weavers) backs up her guitar, as he does on five other songs...
...album also includes two folk songs arranged by Mr. Forbes, following the tradition of his predecessors; a Tarantella by Elliot Carter, '30; and for the certain delight of the many friends of the Glee Club, an absolutely wonderful performance of Glorious Apollo...
...piano accompaniment, although sparingly used, detracts some what from the general excellence of the disc. While they may be perfectly fine in live performances, the pianos, at least in this recording, tinkle and boom like refugees from an amateur music hall. Also, the picture on the front of the album, while it is a striking photograph of the Glee Club in action, is definitely not a portrait of the Glee Club members (1959-60), that made this recording. But then I suppose the Glee Club is such a traditional body that it doesn't really matter...
...first "blues" album (actually more pop than blues), Farrell displays many of the qualities that shine forth on the concert stage: the easy flexibility, the tonal purity, the subtle sense of pitch that enables her to put her voice within the heart of every tone. The selections scarcely call for her full power, but they summon humor, a swinging beat and dramatic conviction. As Farrell alternately becomes the raucously betrayed woman (Blues In the Night), the languorous lady of experience (Old Devil Moon), the world-weary floozy (Ten Cents a Dance), even the weariest lines emerge fresh and endlessly inventive...