09 Feb

Ecstasy

By  Robert Walton
(0 votes)

(Mourant)
Analysed by Robert Walton

For many years I have been meaning to analyse Walter Mourant’s Ecstasy but somehow I never got around to it. I can’t believe I left it so long, because it’s one of the few openings that made such a lasting impression.

The first time I heard it was in 1958 when I was an announcer in Whangarei, New Zealand, at 1XN Radio Northland. Those were the days before sealed airtight cubicles when there was an open window in the studio overlooking an attractive garden and heavily wooded hills. Very civilized! Incidentally four years before, sitting in that very same announcer’s chair was Corbet Woodall later to work for BBC Television in London as a newsreader. We were both learning the ropes of broadcasting on live radio. I met him only once in 1976 at his Marble Arch delicatessan in London.

The 78rpm Brunswick disc (05153) in question featured clarinetist Reginald Kell with Camarata’s Orchestra. As I placed it on the turntable and cued it ready to go on air, it was just another recording.

After a few seconds of introduction, mysterious high strings carried me off to another world. I was hooked. Harmonically it kept wandering off into Debussyian byways as well as quite a bit of diving down, but always returning to the home chord on a major 9 like Poinciana. And speaking of Poinciana, occasionally you’ll hear the David Rose string sound. Some of the chords reminded me of Tony Lowry’s Seascape. I wasn’t a bit surprised that Tutti Camarata was in charge as every aspect of the recording indicated quality.

Then taking over this meandering tune, Kell makes his first appearance with the orchestra and is soon joined by a violin, with which he produces an atonal moment. After going totally solo for a few bars, the clarinet is once more partnered by the orchestra. Note Kell’s distinctive vibrato for which he was famous. From here right until the end it’s the mournful clarinet of ‘roving’ Reginald playing the melody supported by those now familiar harmonies.

At this juncture it might help to give you a brief bio of the comparatively unknown American Walter Mourant (1911-1995) who began his career in jazz. One of his best-known works was Swing Low Sweet Clarinet performed by Woody Herman and Pete Fountain. Clearly Mourant loved writing for the clarinet. Also his chamber music and orchestral compositions are well worth Googling. Various assignments included arranging for the Raymond Scott Orchestra at CBS and composing a March of Time theme for NBC.

Ecstasy is that the somewhat dreary second half of the arrangement does not fulfill the initial promise of the ecstatic opening. In spite of that, I wouldn’t dismiss it out of hand but still recommend you to give it a listen and enjoy.

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About Geoff 123
Geoff Leonard was born in Bristol. He spent much of his working career in banking but became an independent record producer in the early nineties, specialising in the works of John Barry and British TV theme compilations.
He also wrote liner notes for many soundtrack albums, including those by John Barry, Roy Budd, Ron Grainer, Maurice Jarre and Johnny Harris. He co-wrote two biographies of John Barry in 1998 and 2008, and is currently working on a biography of singer, actor, producer Adam Faith.
He joined the Internet Movie Data-base (www.imdb.com) as a data-manager in 2001 and looked after biographies, composers and the music-department, amongst other tasks. He retired after nine years loyal service in order to continue writing.