LYCOS RETRIEVER 
George Gershwin: Al Jolson
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The Best of George Gershwin - String Quartets By George Gershwin (1898-1937), arranged by Steven L. Rosenhaus. Set of performance parts for string quartet (2 violins, viola, cello). Series: Orchestra. 56 pages. Published by Alfred Publishing.
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That this collection should be housed in the Library of Congress is the result of the interest and efforts of several people, foremost among them, Ira and Leonore Gershwin. After George's death in 1937, Ira devoted considerable energy to organizing his brother's documentary legacy. Early on, he recognized the importance of George's music and its preservation for future generations, but, with characteristic modesty, he was slow to be convinced of the significance of his own papers. Nevertheless, he organized and preserved his lyric sheets along with George's music manuscripts and the correspondence, photographs and other documents that would become the core of the Gershwin Collection.
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Arranged by Douglas E. Wagner, scored by Frank Sandler, composed by George Gershwin (1898-1937). Conductor’s score and set of performance parts for concert band (3 - 1st flute, 3 - 2nd flute, 2 - oboe, 2 - bassoon, 3 - 1st clarinet, 3 - 2nd clarinet, 3 - 3rd clarinet, 1 - alto clarinet, 2 - bass clarinet, 2 - 1st alto saxophone, 2 - 2nd alto saxophone, 1 - tenor saxophone, 1 - baritone saxophone, 3 - 1st trumpet, 3 - 2nd trumpet, 3 - 3rd trumpet, 2 - 1st horn, 2 - 2nd horn, 2 - 1st trombone, 2 - 2nd trombone, 2 - 3rd trombone, 2 - euphonium, 1 - baritone (treble clef), 4 - tuba, 2 - mallet percussion, 1 - timpani, 2 - percussion I, 4 - percussion II). With historical notes. Series: Pop Concert Band, Concert Band. Published by Alfred Publishing.
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His script is awkward and not always accurate; for example, one anecdote about Gershwin and Ravel should, according to the Boston Pop's conductor Keith Lockhart, have been attributed to Gershwin and Stravinsky. The single most dramatic and moving episode is Felder's slipping into the persona of Henry Ford. As Ford, a rabid anti-Semite, reads a vicious article about the corrupting influence of jazz by the Jewish Gershwin. Back in his Gershwin mode, Felder quietly declares, "I stand accused" and goes on to say that the African-Americans who gaves us jazz weren't even good enough to serve as Ford's target.
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This is a fantastic album, the pianist maintaining the lively Jazz Age spirit that Gershwin originally framed these enduring standards. But it's been more than six years since this CD was released! Where's Jack Brent's long-promised second volume containing Gershwin rarities?
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Al Jolson