Jackie Allen: Stardust
Jackie Allen (vocals)
Starry Night (Avant Bass 1705)
Jackie Allen (vocals),
Michael Kocour (piano), John Moulder (guitar), Hans Sturm (bass), Dane Richeson (drums), Fred Ehnes (solo French horn), Muncie Symphony Orchestra, Bohusalv Rattay, conductor.
Composed by Hoagy Carmichael & Mitchell Parish. Arranged by Frank Proto.
Recorded: Sursa Performance Hall, Muncie, Indiana, October 4 or 5, 2008
Rating: 92/100 (learn more)
"Stardust" is among the most recorded songs in history. The Guinness Book of World Records lists it as the most-recorded song ever, and Tom Lord's "Jazz Discography" lists it as the eleventh-most recorded song by jazz musicians. The various legends surrounding the song's origins have it inspired either by the music of Bix Beiderbecke or the memory of a former girlfriend (and since it was written by Hoagy Carmichael, we might expect that it was a little of both). When the melody was composed in 1927, it was conceived as a medium-tempo instrumental, but by the time Mitchell Parish's lyric was added in 1931, it had been recorded at least twice as a ballad.
"Stardust" is a song ("Lush Life" is another) where the verse is as beloved as the chorus. Frank Sinatra's most famous recording of the song included only the verse, and the recording reviewed here, by Jackie Allen with the Muncie Symphony Orchestra, includes two renditions of the verse, with a single performance of the chorus in the middle. Arranger Frank Proto scores each version of the verse differently. The opening features a solo French horn, soon paired with Allen. Little by little, other wind and string instruments come in, building subtly to the chorus. Proto's writing for the strings is glassy and other-worldly, reflecting the dream-like state of the lyric. Allen maintains the atmosphere with a cool reading of the lyric, and by staying close to the melody. When the verse returns, the strings predominate the scoring at first, but then they yield to the woodwinds. The horn call comes back at the halfway point, and leads the ensemble nearly to the end, tying the arrangement together. The coda is remarkably understated, but very effective.
Reviewer: Thomas Cunniffe