Phonograph Monthly Review, Vol. 1, No. 11 (1927-08)

486 The Phonograph Monthly Review former she sings La Mujer del Torero to Moriche’s coupling, Por que lloras?, and on the latter La China Princesa, to the coupling of Que lindo besas, Mujer, sung by Briceno and Anez. Jose Moriche is heard to good advantage on 79355— Morir Sonando and Cancion Espanola; the Sexteto Azteca sings Del Fox al Vaiven and Sultana on 79178; Los Cancion- eros Del Bajio couple La Aguililla and Su Mama le dijo a Julia on 79175; Mariachi Coculense “Rodriguez” sings El Toro and El Gavilancillo on 79173; and Santillian and Bor- boya are heard together in Las Cuatro Milpas and Anapola del Camino (79172). Antonio Cortis has a red seal record here also: Calabazas and El Tropezon—1241; both deserve commendation. Among the instrumentals the Orquesta Inter- nacional holds full sway in 79290 (Amelia arid Suspiros de Amor—-waltzes), 79295 (Toledo and Habana), 79312 (Cora- zones sin rumbo and Tre’s Boston), and 79314 (Tango de la Muerte and Bajo el Almendro). In 79293 it is coupled with Moriche’s It Ain’t Gonna Rain No More, and in 79300, it, plays Clavelito on one side to the always excellent J'uah Pulido’s Hendrina on the other. Perhaps most noteworthy*: of all is the Orquesta Tipica Mexicana “Anahuac” in Patria Marcha and Jarabe Tapatio (79174). S. F. Victor 1238—Drink to Me Only With Thine Eyes and Believe Me if All Those Endearing Young Charms, DIO, $1.50. Lawrence Tibbett in two old favorites, with rather effective orchestral accompaniments. One’s appetite is only whetted, however; when shall we have another Pagliacci Prologue? Victor 4006—The Winding Trail and Just an Ivy Covered Shack, D10, $1.00. Lambert Murphy’s popular recordings are evidently finding considerable favor and the business experts of the repertoire department must be right in believing that there is a large record buying public among the “sentimentally- disposed who demand something better than the ordinary home-and-roam lyric but who haven’t the general education or the power of attention to sit through things of more serious lyric import.” Such people will find this as much to their taste as they found the recent Roses of Picardy by the same artist. From here the next step is to works like those of Jeritza and Lashanska, of recent release. Victor 1236 (from the foreign catalogue)—Piscatore ’E Pusilleco and Guappana, D10, $1.50. Tito Schipa singing two Italian songs with great vigor and a fine lack of restraint. The general vocal record buyer should not let this work slip by unnoticed. S. M. Among the Columbia vocals are 897-D, William A. Kennedy, tenor, in two Irish melodies, Molly O ! and Sweet Inniscarra; the Shannon Quartet in Kentucky Babe and Little Cotton Dolly, two old-time favorites, on 978-D; Charles Kayley, accom- panied by violin, piano and saxophone, in You’re the One for Me and Forgive Me, on 980-D; Ruth Etting in Wherever You Go and What Do We Do on a Dew-Dew-Dewey Day? on 979-D (an outstanding popular vocal coupling); and the Sing- ing Sophomores in Russian Lullaby and Somebody Else on 985-D. The Ponce Sisters, Ethel and Dorothea, sing Honolulu Moon and Moonbeam Kiss Her for Me on 983-D in fair fashion; Arthur Tanner and his Corn-Shuckers offer Knoxville Girl and The Jealous Lover for their first recording as ex- clusive Columbia artists (15145-D); Al Craver sings of the Mississippi Flood and the Engineer’s Dream on 15146-D; Bessie Smith and her Blue Boys offer two grewsome blues in Send Me to the ’Lectric Chair and Them’s Graveyard Words (14209-D)—the accompaniment of the former deserves special praise; and Peg Leg Howell and his Gang sing the New Jelly Roll Blues and the Beaver Slide Rag on 14210-D. For sacred selections, Smith’s Sacred Singers couple I Will Sing of My Redeemer and He Will Set Your Fields on Fire on 15144-D; and the Rev. J. C. Burnett, assisted by Sisters Grainger and Jackson, preach, pray, and sing the story of Daniel in the Lions’ Den and Hebrew Children in the Fiery Furnace (14211-D). For instrumentals there is a record of xylophone solos (Jovial Jasper and Charleston Capers) played by George Hamilton Green—977-D and the following five dance records. Ted Lewis and his band play Fifty Million Frenchmen Can’t be Wrong and One Sweet Letter from You on 988-D; the Ipana Troubadors couple Hello Cutie and My Regular Gal on 984-D; the Knickerbockers offer Nesting Time and Call- ing on 982-D; Harry Reser’s Syncopators play What Do I Care What Somebody Said and I’m in Love Again on 981-D; and to conclude, The always worthwhile Columbians offer Your Land and My Land and Silver Moon on 975-D. The very good Harry Reser record leads the group, but the others are all close on its heels. Vernon Dalhart sings Lucky Lindy for Brunswick, too, coupled this time with a ballad of The LjOst French Fliers on Brunswick 3572; Vaughn de Leath sings I’m in Love Again and Just Wond’ring on 3520; Nick Lucas croons Side by Side and My Idea of Heaven on 3529; Ray Perkins, tenor, couples Following You Around and I Wonder tlow I Look AVhen I’m Asleep (3495); and Harry Reser is heard in? Calling and Col- lette, two more of his inimitable banjo solos. The Yale Hawaiian Trio plays One Summer Night and South Wind on 3548 and Lew White offers two more great organ recordings, Trail of Dreams and It All Depends on You, played on the organ of the Roxy theatre in New York (3489). Beginning the Victor group where the Brunswick one ended, organ records, we have Jesse Crawford (Lew White’s only rival) playing Estrellita and La Paloma (Victor 20586), a well chosen coupling of familiar Spanish-Mexican pieces. Frank Banta has 20610 to himself, with Russian Lullaby for one side and Ain’t She Sweet for the other; Jack Smith whispers Me and My Shadow and You Won’t See Me If I See You on 20626—one of his best releases to date; The Revelers sing Hallelujah on one side of 20609, to Sometimes I’m Happy sung by Louise Groody and Charles King on the reverse; on 20678 The Revelers have the entire record to themselves, singing the somewhat antedated I’m Looking Over a Four Leaf Clover and I’m in Love Again—as always their records are well sung and recorded, but one notices that their style, delightful when first heard, tends to become more and more stereotyped—perhaps they will recognize the need for more variety and originality. Vernon Dalhart sings the story of Lindbergh for Victor on 20674, coupled with Vaughn de Leath’s version, Like an Eagle You Flew into Everyone’s Heart. We should not omit a word of praise for all the com- panies for the magical manner in which they have whisked out these Lindbergh records on the very heels of his flight; the aviator may have the recording companies beaten for distance records, but for speed, they can hold their own with anyone! At the end of this month’s group (somewhat smaller than usual) come Aileen Stanley and Bill Murray, heard in duets, Does She Love Me? Positively—Absolutely, and I’m Back in Love Again. This month the Okeh dance records hardly include any really outstanding number, but after the sensational The More We are Together, etc., of last month, a comparative lull surely should be expected. One of the best is Go Wash an Elephant if You Wanna Do Something Big (“And Clean” must be forgotten!) played by Reser’s Jazz Pilots on one side of 40821, to the coupling of Whisper Song by the Goofus Five. Whistler and ! i v his band play the Low Down Blues and Vamps of 28 on 8469; Jessie Stone and his Blue Serenaders couple two unusual pieces,. Boot to Boot and Starvation Blues, on 8471; The Goofps Five use both sides of 40817 to advantage with The Wang Wang and Arkansas Blues; The Happy Hour Orchestra plays I’m on My Merry Way on 40816 to Ted Wallace’s coupling of For Mary and Me. 40822 deserves special mention, qn, account of its striking perform- ances of The Ostrich Walk and Riverboat Shuffle, both by Frankie Trumbauer and his orchestra. Rufus.