Phonograph Monthly Review, Vol. 3, No. 5 (1929-02)

February, 1929 The Phonograph Monthly Review 177 interest and value to every music lover. Beside the Missa Papae Marcelli (4 D12s, $1.25 each) there are five ten-inch seventy-five cent disks : Ralph Crane (an admirable singer from whom we should have more records) sings arias from Peri’s Euridice and Caccini’s Euridice on 21752; and oil 21747 he sings Ecco purch’a voi ritorno from Monteverde’s Orfeo, O cessate di piagarmi by A. Scarlatti, and Intorno all’ idol mio from Cesti’s Orontea. The two little disks are echoes from the earliest days of modern European music; Peri’s Euridice (1600) is known as the first opera. The other three disks are sung by the invariably excellent Palestrina Choir under the direction of Nicolai A. Montani. 21621: Dies Irae, Sanctus and Benedictus (Gregorian Re- quiem Mass), Ave Maria (Gregorian), and Kyrie Eleison (Gregorian Mass of the Blessed Virgin). 21622: Arcadelt’s Ave Maria and Palestrina’s Adoramus Te. 21623: Calvisius’ Joseph Mine and Praetorius’ Lo, How a Rose E’er Bloom- ing and To Us Is Born Immanuel. Comment should not be withheld on the commendably de- tailed labelling of these educational records; almost in- variably translations, dates, and references are given on the label itself. A remarkable list of recorded works. The wise record buyer will not pass it over lightly, whether he is interested in obtaining valuable disks for his children or himself. Observer Band Victor (special January 11th list) 35950 (D12, $1.25) Moussorgsky: Khowantchina—Dances of the Persian Slaves, and Franck: Offertory for the Midnight Mass, played by the Band of the Royal Belgian Guards con- ducted by Capt. Arthur Prevost. It is strange that the lovely Persian Dances from Moussorgsky’s Khowantchina should be so neglected in American concert halls. Although hardly as exhilarating as the Prince Igor dances, they are by no means inferior to them in supple Oriental grace and, color. A recording is welcome and although an orchestral version would have been preferable, this remarkable band plays so well as to make one forget that it is a band and not an orchestra. More records of this excellent organization will be wel- come, particularly if they continue to make such original and graceful choice of selections. Odeon 3239 (D12, $1.00) Bizet: Pearl Fisher—Selection, played by Salvatore Minichini and his Royal Marine Band. Typical Italian band performances of operatic selections. The recording is good and the playing capable, although perhaps unduly suave. One misses the snap and spirit by which Creatore makes this type of performance more effective from a concert standpoint. The trumpet and trombone soloists are named on the label, a practice which deserves commendation. Odeon 3512 (D10, 75c) Hail Our Country, and Memories of Lorraine marches, played by the Odeon Military Band. Brisk and forceful march playing by a competent or- chestra. The recording is brilliant, but there is little sub- tlety or unusual distinction to the performances. Odeon 3510 (D10, 75c) Parisian March, and The Jolly Coppersmiths, played by the Augmented Odeon Orchestra. This is virtually a band record despite the labelling. The disk was originally issued among the Odeon foreign releases. Like the record above it is brilliantly and energetically played. Columbia 1644-D (D10, 75c) Hail to the Flag, and Friends Forever marches, played by the Columbia Band. More effective march performances, not as forcefully played or brilliantly recorded as the Odeon disks, but by virtue of greater clarity, no less effective. Victor (International list) 35954 (D12, $1.25) Indian March, Hymn of the Laborers, and The First of May, played by Creatore's Band. Although the Indian march is not without interest, this disk is of far less general interest than the others in Crea- tore’s series. The playing and recording are no less masterly, but the music played is hardly worth the efforts expended on it. Popular Vocal and Instrumental Fanny Brice is featured by Victor this month in connec- tion with her current Vitaphone production of ‘'My Man.” She sings the title song and Song of the Sewing Machine on 21168, and If You Want the Rainbow You Must Have the Rain and I’d Rather be Blue on 21815; all but the Sewing Machine song are sung also in the “sound picture.” The recording here is excellent and Fanny is in her best form. Polly Walker, the charming star of “Billie” sings the two big hits from that show on Victor 21799; and Helen Kane brings out a second edition of her first record—the titles are changed to Don’t Be Like That and Me and the Man in the Moon, but the tunes, the words, and the man- nerisms are much the same (21830). The remaining Victor releases in this group are less interesting. Frank Banta plays fair versions of Dorothy and the World is Waiting for the Sunrise (21821) and the Happiness Boys have an amusing Etiquette Blues on one side of 21797 and a less amusing Where Did You Get That Name? on the other. For sentimental offerings Gene Austin sings I Can’t Give You Anything But Love and I Wonder If You Miss Me (21798); Jonny Marvin sings Sweethearts on Parade and Where the Shy Little Violets Grow (21820) ; and Morton Downey sings How About Me? and I’m Sorry Sally (21806). Two of the best Southern releases are 40021, respectively by “Mac” singing two cowboy songs and Bud Billings celebrating in song the Heroes of the Vestris and the Wreck of No. 9. There are two good male quartet disks: 21807, the Revelers in Evenin’ and Cornin’ Home and 21794, the National Cavaliers in The Song I Love and My Blackbirds are Bluebirds Now. First on the Okeh list is a two-part piano fantasy on Humgarian folksongs played by Mary Vellner (3508). More strikingly original, however, are the remarkable fantasies for two guitars played by Lonnie Johnson and Blind Willie Dunn: Have to Change Keys to Play These Blues and Two Tone Stomp (8637L pieces of astonishing singularity. For sentimental ballards there are 41167 (How About Me? and a Love Tale of Alsace Lorraine) by Smith Ballew, making a commendable debut, and 41154 (Where is the Song of Songs for Me? and Marie) by Joe Wilbur. Among the others mention might go to 41170, Hawaiian singing by Kalama’s Quartet, and 8650, Sweethearts on Parade by Lillie Delk Christian. Columbia has a list above the average, topped by Con- stance Mering and Muriel Pollock's best release to date of piano duets, Ups-a-Daisy and Hot (1633-D), fine brisk playing and ingenious arrangements. The other leaders are the Happiness Boy's Gay Caballero (1692-D) ; Paul Whiteman's Rhythm Boys' Rhythm King and My Sup- pressed Desire (1629-D) : Ruth Etting's Love Me or Leave Me (1680-D), her best release in several months) : Lee Morse's Let’s Do It (1659-D, remarkably clear ennuciation and recording; and an astonishing blues disk by Ethel Waters, Get Up Off Your Knees and Do What You Did Last Night (14380-D), with superb piano accompaniments by Clarence Williams and Jimmy Johnson respectively. Other records to be singled out for mention are 1639-D, My Old Girl and I Can’t Make Her Happy, by Ukulele Ike; 1640-D. sentimental ballards by James Melton; 1645-D and 1680-D, Irish songs by Wm. A. Kennedy; 1627-D, typical movie organ versions of La Rosita and By the Waters of Minnetonka, played by Emil Velazco; 1695-D, Life and Love and I Found Gold sung pleasingly by Oscar Grogan; and 14384-D. Slow and Easy Man and Me and My Gin, blues by Bessie Smith. Of rather more than ordinary in- terest is a piano coupling by Clement Doucet. Chopinata and Wagnereske (1657-D). First place on the Brunswick list this month is won by Marc Williams, the Cowboy Crooner, and most pleasing of all the recording semi-folk balladists. On 269 he sings the famous Jesse James song (“The dirty little coward that shot Mr. Howard,” etc.) and a sad story of Little Joe the Wrangler; on 274 his selections are William and Mary (Love in Disguise) and a moral tale of Bad Companions. Among the popular vocals 4099 stands out: infectious ver- sions of Take Your Tomorrow and I Wanna Be Loved