Radio revue (Dec 1929-Mar 1930)

DECEMBER, 19 2 9 star. Rudolph Valentino, all over again. An easy name to remember, a pleasant name to say — the ladies love to say the name, therefore, they idolize the person to whom it belongs. I defy you to show me where I am wrong." "It all goes to suggest," Mr. Watts resumes, "that the Vallee problem has grown a bit too emotional, on both sides, for comfort. It does suggest, though, that Mr. Vallee's popularity transcends all matters of musical skill, technical prowess, looks or orchestral effectiveness. It is entirely a matter of emotion. In a word, since women adore him and since more women than men go to the theatres — he is a smash. Since, however, none of my friend's admirers has insisted that he is important as a musician, or as a personage, but only as a shy, wistful gentleman, who pleases the romantic ladies, this department is willing to consider that a compromise and, after expressing its final conviction that his orchestra is second rate, let it go at that." Let us learn more of the man. Hubert Prior Vallee — to give him his full title — was born 27 years ago in Vermont, but spent the greater part of his life in Westbrook, Maine, a paper-mill town of about 10,000 population. He is of French-Irish descent. He has been musical since childhood. His father owned a drug store and wanted Rudy to become a pharmacist, but Rudy could not see it that way. While in high school he had various jobs to occupy his spare time. One of these was as an usher in a motion picture theatre. There he became enamored of the clarinet in the orchestra and he saved his money until he could buy one. He soon learned to play it. Then somebody gave him a saxophone and, as the two instruments are played almost in the same manner, it took him only about a week's time to master the saxophone sufficiently to play in an orchestra. To further perfect his art, however, he hired a small room in the Westbrook Town Hall at five dollars a month, where he could practice without creating a public disturbance. Heard Rudy Wiedoft Play Rudy thought he was progressing quite well with his saxophone until one day he heard a Victor record by Rudy Wiedoft. the dean of saxophone players. Instantly he realized how little he knew about playing his chosen instrument. He became a staunch admirer of Wiedoft. so much so that later in college his friends dubbed him "Rudy" after the saxophone king. A long correspondence followed, culminating in a course of saxophone lessons from Wiedoft by mail. After completing his high school course. Rudy entered the University of Maine. There his skill with the saxophone quickly brought him into the limelight. He was made a member of the Sigma Alpha Epsilon Fraternity and was literally snapped up by the college band. However, the field for his talents was not wide enough there so, after a year, he transferred to Yale. There he at once eclipsed all his former triumphs and started a new march to fame. He played in the Yale Commons. Woolsey Hall, under Les. Ladin, band director, and later in the Yale University Band. He was .in great demand at all the big dances and for two years earned about $1,500 a year, at the same time carrying on his college studies. Then, in 1924, came an opportunity to play for a year in the orchestra of the Savoy Hotel in London, the finest organization of its kind in Europe. Rudy accepted and. after obtaining leave of absence from Yale for a year, went to London. There he met with further success and captivated England's smart set with his playing. Just before he was to return to America to complete his course at Yale. Rudy was invited to teach the Prince of Wales to play the saxophone, but declined, as he did not care to delay his college work any longer. Back at Yale, Rudy's popularity continued to spread rapidly. He became leader of the famous Yale Football Band and of the college dance orchestras. After his graduation, in 1927. Rudy and his band went on a vaudeville tour across the country. When it was over he played for a while in Boston and led some 'of the best orchestras in that city. However, he had his heart set on a New York career and, as soon as the opportunity presented itself, he set out to conquer Broadway. In Xew York, Rudy had no difficulty in obtaining work, but he did have trouble in getting the Broadway orchestra leaders to play dance music according to his ideas. Favors Simplicity in Dance Music Simplicity has always been Rudy's keynote in playing dance music. He has never been in favor of the overelaborate dance arrangements that have grown out of the 31® The Idol of the Flapper early jazz band craze. He wanted to do away with most of the brass instruments. He believed that the inherent rhythm of a good syncopated melody was sufficient to put it over, without any trimmings. It was not long before Rudy organized bis own orchestra. In so doing he realized the fulfillment of a dream (Continued on page 46)