“Twilight Time”
Composed by Buck Ram (lyric), Morty and Al Nevins and Artie Dunn (music); arranged by Frank Comstock.
Recorded by Les Brown and His Orchestra for Columbia on November 20, 1944 in New York.
Les Brown, directing: Bob Higgins, Carl Berg, Verne Rowe and Randy Brooks, trumpets; Dick Noel, Dick Gould and Clyde “Stumpy” Brown, trombones; George Weidler, first alto saxophone; Mark Douglas, alto saxophone; Ted Nash and Nick Riviello, tenor saxophones; Henry “Butch” Stone, baritone saxophone; Geoff Clarkson, piano; Hy White, guitar; Bob Leininger, bass; Dick Shanahan, drums.
The story:
“Twilight Time,” with a lyric by Buck Ram and music by The Three Suns (Morty Nevins, Al Nevins, and Artie Dunn), was composed in early 1944. Ram said that he originally wrote the lyric as a poem, without music, while in college. The Three Suns made the original instrumental (organ, guitar and accordion) recording of “Twilight Time” in 1944 for the obscure Hit Records label. The composer credits on the label of that recording include the name “Tepper,” referring presumably to composer Saul Tepper, who may have had some input when the melody was created. Apparently, the other composers bought-out Mr. Tepper’s interest before Les Brown recorded “Twilight Time.”
The Brown version of “Twilight Time” was recorded on November 20, 1944, on the same recording date as “Sentimental Journey,” and was issued on the “B” side of Columbia 78 rpm disk 36769, with “Sentimental Journey” on the “A” side. That recording date was the first for the Brown band after the American Federation of Musicians strike against Columbia Records was settled, which happened shortly before November 20, 1944. 
“Sentimental Journey,” with a vocal by Doris Day, became a massive hit during the closing months of World War II, and had a lot to do with making Ms. Day a star.
“Twilight Time” was recorded by numerous groups in the post-war years. However, the best-known version of the song was recorded by The Platters in 1958 and became a No.1 hit on both the pop singles and R&B best sellers charts in the United States. The Platters’ version also reached No.3 in the United Kingdom. In 1963, the Platters recorded the song singing a Spanish lyric. That record is entitled “La Hora del Crepúsculo,” with The Platters singing against a rhumba rhythm. (1)
The music:
Frank Comstock’s arrangement for Les Brown of “Twilight Time” is a showcase for the song’s melody. There is no introduction. The performance begins with the saxophone quintet playing the main melody for the first sixteen bars of the first chorus. Notice how arranger Comstock creates harmonic pads for the open brass, played very softly into their derby mutes, as a background for the resonant reeds. The secondary bridge melody is played by the brass. The sounds of the open trumpets then muted trombones in this sequence provide a contrast to the sound of the reeds, which under George Weidler’s singing lead alto, and in counterpoise with Butch Stone’s robust baritone saxophone sound, at various places sound like a pipe organ. The brief open trumpet solo at this point was probably played by the band’s trumpet soloist of the time, Randy Brooks. The saxophones return to finish the last eight bars of melody in the first chorus.
A brief transition played at first by the entire ensemble, then by pianist Geoff Clarkson and bassist Bob Leininger, leads into the marvelously rhapsodic tenor saxophone solo played by Ted Nash. Mr. Nash, a master of the upper reaches of his instrument, covers a wide range of notes during his solo with fluid ease, but nevertheless stays close to the melody. Pianist Clarkson reappears to play a tasty solo on the tune’s bridge. His shift to block chords at the end of his eight bars is tasty and musically effective. (Above left: Ted Nash.)
The saxophones then come forward again with the main melody, embellished in places by the open brass instruments that are quickly hand muted with a couple of oo-ahs to blend with the saxophones at the end. (At right: Geoff Clarkson.)
This is excellent dance music performed with panache by a virtuoso big band.
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“Twilight Time”
Composed by Buck Ram (lyric), Morty and Al Nevins and Artie Dunn (music); arranged by Frank Comstock.
Comstock arrangement reconstructed by Billy May.
Recorded by Billy May and the Swing Era Orchestra for Capitol on September 14, 1970 in Hollywood.
Billy May, directing: Clarence F. “Shorty” Sherock, first trumpet; John Best, Pete Candoli, Uan Rasey and Bud Brisbois, trumpets; Dick Nash, first trombone; Francis “Joe” Howard, Lloyd Ulyate, and Dick Noel, trombones; Arthur “Skeets” Herfurt, first alto saxophone; Les Robinson, alto saxophone; Justin Gordon and Don Raffell, tenor saxophones; Chuck Gentry, baritone saxophone; Ray Sherman, piano; Jack Marshall, guitar; Rolly Bundock, bass; Nick Fatool, drums.
Notes and links:
The story and the music:
I have included this beautifully performed and recorded version of “Twilight Time” so the many nuances in Frank Comstock’s arrangement that are not easily heard on the Les Brown recording can be heard clearly, and savored. The key ensemble roles in this performance are filled by Skeets Herfurt on lead alto saxophone and Shorty Sherock on lead trumpet. (At right: Skeets Herfurt in the 1970s.)
In the first sixteen bar melody exposition, Herfurt on his alto saxophone sings melody leading the reeds, with the bottom voice being provided by Chuck Gentry on his baritone saxophone. The cup-muted trombones on the bridge are led by Dick Nash, ensuring a warm, velvety sonority. In addition to leading the open trumpets in various bright bursts of sound, Shorty Sherock is heard playing the brief open trumpet solo. (At left: Shorty Sherock in the early 1960s.)
After the ensemble falls away, pianist Ray Sherman and bassist Rolly Bundock handle the small transition into the tenor saxophone solo, played here by Justin Gordon. He and Ted Nash worked together often in the Hollywood studios, though by the late 1950s Nash usually played alto saxophone and flute on studio dates.
Mr. Gordon appears to have read Mr. Nash’s practice manual on how to master the high harmonics of the tenor saxophone, because he plays the high notes required, and all of the other notes, beautifully. It is easy to overlook the delightful backgrounds for this solo that were written by Frank Comstock. They consist of gently played trumpets and trombones played open, and offer the perfect sonic contrast to the sound of the tenor saxophone. (Above right: Justin Gordon and Chuck Gentry in the 1960s.)
Ray Sherman handles the dreamy piano solo with his customary skill and aplomb.
The recordings presented with this post were digitally remastered by Mike Zirpolo.
Notes and links:
(1) The summary of the various recordings of “Twilight Time” is derived from from the Wikpedia post for that song.
Here are links to other performances by Les Brown:
https://swingandbeyond.com/2016/12/06/ive-got-my-love-to-keep-me-warm-1946-les-brown/
Wow, Mike Zirpolo, whoever you are–I can’t tell you how grateful I am for your post on “Theme from a Summer Place.” I’m writing an essay on summer songs (songs about summer, not just songs popular in a certain summer) and for whatever reason, I keep thinking about the Percy Faith recording of “Theme from a Summer Place,” and wondering what it is about it that summons up my deep emotions from the very first notes. I haven’t had much trouble knowing what I wanted to say about most of the 82 songs I’m writing about, but I just didn’t know how to write about this one.
And then I read your post! First, I too just heard an NPR discussion about songs of summer, and I was intrigued by their speculations about what makes a song THE song of the summer, though they are on a parallel but different train track than I am. You may have heard a different discussion (looks like you wrote this two years ago), or maybe what I heard was a replay.
Anyway, I wanted to tell you I am blown away by your insightful responses to that song, and to the many other songs of your young formative years that still move you. I think you nailed some ideas that I have only sensed are out there, right beyond my reach. So thanks!!
Jan, thanks for your kind words.
Here at swingandbeyond.com, there is a category called “Seasons and Such,” dedicated to songs of the various seasons. You may find something of interest there.
I love your enthusiasm!