RETURN to D'Antiques Recordings
UNS-1
There are many precedents for artists placing their talent at the service of a humanitarian cause. Yet never before have so many great names in the entertainment world been brought together. It needed the impulse of a world-wide endeavour. Out of the necessity to help refugees grew the idea of "All-Star Festival." The artists donated songs, some specially written and composed, others exclusively reserved for this record. The phonographic industry co-operated wholeheartedly and released their artists from their contractual obligations for this unique purpose. The trade has given its support. And so, thanks to the help of many, we can now present "All-Star Festival" as a great artistic achievement and a significant contribution to the needs of the refugees.
In the name of the Honorary Selection Panel, I thank all who so willingly responded.
Yul Brynner
Special Consultant to the High Commissioner Chairman of the Honorary Selection Panel
ALL-STAR FESTIVAL
Side 1:
Lazy river (Carmichael/Arodin) BING CROSBY and LOUIS ARMSTRONG (By courtesy of Project Records)
The everlasting arms (Broones/Webster) DORIS DAY (By courtesy of Arwin Production Inc./Columbia Records)
Ximeroni (Hadjidakis) NANA MOUSKOURI (By courtesy of Fontana Records)
La vie est une belle fille (Willemetz/Kosma) MAURICE CHEVALIER
First star I see tonight (Corso/Otis/Hendricks) PATTI PAGE (By courtesy of Mercury)
All of me (Simons/Marks) ELLA FITZGERALD (By courtesy of Metro Goldwyn Mayer)
Side 2:
Je m'imagine (Monnot/Raya) EDITH PIAF (By courtesy of Pathe-Marconi-Records)
When you belong to me (Cochran/Merrick) NAT "KING" COLE (By courtesy of Capitol)
Greensleeves (arr. Vaughan Williams) ANNE SHELTON (By courtesy of Philips Records)
Adonde vas, nino? (Don Porfirio Camar) LUIS ALBERTO DEL PARANA y su trio Los Paraguayos (By courtesy of Philips)
Nobody but You, Lord (Jackson) MAHALIA JACKSON (By courtesy of Columbia Records)
La golondrin (Serradell/arr.Flor) CATERINA VALENTE (By courtesy of Teldec Telefunken-Decca Schallplatten)
Nearly two years ago the United Nations High Commissioner for Refugees invited me to produce a long-playing record to be sold throughout the world in aid of the world's refugees. I readily accepted since I assumed that a sympathy for the cause, coupled with long experience in music production were sufficient to warrant me at least a fair chance of success. I know now that this task - the co-ordination of varied talent drawn from many parts of the world - could never have been accomplished by the enthusiasm of one man alone. Had it not been for the magnificent collaboration of the artists' exclusive producers, of the business and publicity-managers, sound-engineers, and all the people, in fact, who have helped me, the final aim - this record - would probably never have seen the light. In the last analysis, however, any favour this record finds with the public will be attributable primarily to the performers, and the dedication they have shown to the realisation of a noble aim.
About the artists:
What makes this album unique is that it assembles the voices of more world-famous artists than have ever appeared together on one record. Of course, the joint presentation of such a galaxy of stars creates certain problems. All being of the first magnitude, which one should be announced first and in what order should they appear? Fortunately, all were generous enough to accept the only possible solution: a billing in alphabetical order on the record-cover and a programme-sequence which aims at entertaining the listener by holding the attention through contrasts in tempos, styles, and so on. If I mention this, it is to appease any fans who might expect to hear their favourite star the moment they put the record on. I say it also to reconcile myself to the impossibility of having them all start together at once, for I'm a fan of every one of them. The principal reason why I don't propose to go into details about the artists is that their names and personalities have become so well-known through the years that any introduction on my part would only be superfluous.
About the programme:
The idea underlying the choice of songs has been a constant striving for a repertoire which avoids sentimentalising the refugee. The songs are varied and the artists are given full scope to air their styles. The listener may therefore derive satisfaction not only from having done his bit by buying the record but also from enjoying the songs themselves - which have extremely wide appeal - and in possessing a record unlike any other ever produced: a kind of symposium of twentieth-century singing talent which may well become a valuable document of our times.
LAZY RIVER - Bing Crosby and Louis Armstrong
This Hoagy "Stardust" Carmichael tune, as easy-going as the river it sings of, puts you in your musical armchair right away. Whether you find yourself visualising the charming scene Bing depicts in the light-hearted way that has made him a living legend, or listening to Satchmo's inimitable babbling you'll soon find that both - in their own style - are paraphrasing the whole motto of the record: "Relax, relax, relax!"
THE EVERLASTING ARMS - Doris Day
A hymn-like song of love which through Doris Day's heart-felt and stirring interpretation and the solemn accompaniment of a huge choir, blossoms into a convincing statement of faith: particularly so in the congregational intermezzo which is set in question-and-answer, catechism style. A true song of comfort, ending with a message for all: "So in times like these filled with grave alarms, come into the refuge of the Everlasting Arms."
XIMERONI (Daybreak) - Nana Mouskouri
One of Manos Hadjidakis's most fetching songs. Both melody and lyric strikingly express the serene wisdom of the simple Greek peasant, seen here as he goes to work at break of day ("Ximeroni"): Meet the new day with a clear, untroubled mind. Drive yesterday's worries away just as the morning light chases away night's shadows. Be aware of the beautiful scenery around you and enjoy your privilege of living to see it. Let the sun rise in your heart, the blue sky reflect in your soul. And if sometimes there are clouds, ask yourself: if it never rained how would I ever enjoy the sunshine? The voice of Nana Mouskouri, who sings the song in Greek, and the authentic accompaniment - in which the sound of the "bouzouki" (a sort of large-size mandolin) is particularly notable - enhance the effects of this typical Hellenic folk-song.
LA VIE EST UNE BELLE FILLE (Life is a beautiful girl) -Maurice Chevalier
The "grand old man of Parisian vaudeville" reveals his inner self - the kind, mature philosopher. This charming, truly French allegory, was specially written for this album by lyricist Albert Willemetz and composer Joseph Kosma, respectively of "Valentine" and "Feuiiles mortes" fame. Acting as the mouthpiece of one of his own former creations, le pere "Ma Pomme," Maurice Chevalier discusses life, which, he tells us, is like a beautiful girl, kind to all those prepared to face her honestly. She is sometimes cruel, perhaps, but so sweet that we find life beautiful and so wish to enjoy it to the full, yes. . . "jusqu'au bout!"
FIRST STAR I SEE TONIGHT - Patti Page
About 60% of the world's popular songs deal with love. This is actually quite a low figure if one remembers that a much larger proportion of the world's population is probably interested in the subject sooner or later. But what I consider a miracle is that authors of love-songs always manage to find a new angle. "First star I see tonight" is as crisp as a new penny. "First star I see tonight; wish I may wish I might be the girl in his secret heart. . ." Patti Page, the ballad-singer par excellence, can make the oldest and dryest remember what first love feels like.
ALL OF ME - Ella Fitzgerald
This sure is All of Ella. The lyrics of this "must" in all "evergreen" programmes beg the departed lover to return: "You took the part that once was my heart, so why not take all of me?" But what counts is not so much the words as Ella's voice. Ella does more than just sing this song; she uses her voice almost as if it were an electric guitar, with a virtuosity and ease of improvisation exclusively hers.
JE M'IMAGINE (I imagine) - Edith Piaf
The lyrics of this song reflect so strongly upon Edith's eventful life that one might be inclined to think the author, Marguerite Monnot, wrote them especially for her. This is not so, in fact, but it certainly accounts for the fact that Edith Piaf's interpretation rings true from beginning to end. Anyone contemplating past happiness finds, in retrospect, that it is clouded by the memory of those youthful hopes that never quite matured - so says Edith in effect. This is the great French singer at her best - with a typically French "conversation-piece."
WHEN YOU BELONG TO ME - Nat "King" Cole
A poetical thought in the appropriate musical setting. "Dreams of you always start in the quiet corners of my heart," says the dreamy, romantic voice of Nat "King" Cole. Any romantic girl listening to this may find that, in the quiet corners of her heart, dreams are starting too. . . May they all come true: as in the song. . . "till the night our wedding-candles gleam, then the dream will sweeter be, when you belong to me."
GREENSLEEVES - Anne Shelton
The earliest mention of this beautiful British song occurs in "Stationers Company" of September 1580. There is controversy over its origins but they are probably now lost in antiquity. Shakespeare refers to it in his "Merry Wives of Windsor"; and the Oxford Companion to English Literature calls it a 'popular Shakespearean Ballad' and "Greensleeves" an 'Inconstant Lady Love': "Alas, my Love, you do me wrong to cast me off discourteously; and yet I have loved you so long, delighting in your company. . ." Anne Shelton's rendering may be regarded as one of the best interpretations of this song to date.
ADONDE VAS, NINO? (Where are you going, little boy?) -Luis Alberto del Parana y su trio Los Paraguayos
This is the story of a little boy who is found, crying, in the middle of a busy street. Asked his business, he requests, first, bread for his jobless father, second, firewood for his mother, who is cold. He is given all this but still he cries. What more does he want ? His answer, almost inaudible, is: "an ice-cream." Given this too, he smiles at last. "Mira, mira, mira, ya ries ya!" ('Look, now you're smiling!')
NOBODY BUT YOU, LORD - Mahalia Jackson
Seldom have I been so completely spellbound by Mahalia's singing as I was when she sang this. The song - a gospel song - is her own and for that reason, perhaps, Mahalia was subconsciously aware that no other singer could give it quite the same expression or perform it with such conviction. Between her passionate outbursts she stops, as if listening for the voice she tells us she once heard: "I am the way and I will lead you home to a brighter day."
LA GOLONDRINA (The swallow) - Caterina Valente
Latin-German by descent, Caterina Valente is known to speak nearly a dozen languages and more important, is known as one of the most versatile of European singers. In this allegoric song, a famous Latin-American evergreen, the" poet compares himself to the swallow (like"la paloma "the dove, often associated with the idea of nostalgic desires) which, on the point of migrating, hesitates before it flies. It is loath to depart; uncertain of its fate. The song closes: "I too feel this uncertain longing but cannot fly."
Thank you for your attention, especially on behalf of the world's refugees.
MELLE WEERSMA