The American numbers here remind me of Michael Bennett’s 1978 musical Ballroom, set in a seedy Bronx dance hall. What we hear are the original publishers’ dance band arrangements, made by master arrangers of Weill’s time. At their head, with seven tracks, is Jack Mason (1906-65), who was arranger for the Boston Pops at the time of his death. I find his contributions especially successful, creating a real swing in ‘Mile after Mile’ and ‘Stay Well’. The two arrangements by Paul Weirick are in similar style, while Bob Noeltner’s ‘My Ship’ is suitably reflective.
Interspersing the American numbers are some of Universal Edition’s ‘jazz orchestra’ arrangements from the Berlin works. Though variously credited to Richard Etlinger, Jerzy Fitelberg and Hartwig von Platen, they retain the essential earthiness and bitterness of Weill’s original orchestrations, with plenty of violin, trumpet and banjo. Max Raabe, who sings on eight of the 19 tracks, highlights the contrast between American and Berlin numbers with a particularly stylised delivery for his Dreigroschenoper number.
Ultimately, the American and German styles of arrangement are so different that I’m not convinced the two fit together at all well. I certainly can’t suggest this ranks as an essential addition to the Weill discography. Still, Weill did write some wonderful dance tunes, and it’s undoubtedly a joy to hear them in H K Gruber’s splendid performances, supported by fine 21st- century sound.'