Phonograph Monthly Review, Vol. 3, No. 8 (1929-05)

284 The Phonograph Monthly Review May, 1929 the Schubert nor the Schumann performance has much to commend it. Odeon (Spanish-Mexican list) 16594 (DIO, 75c) Tango de Amor and Carmencita Tango, played by the Orquesta Dajos Bela-Turnier. A delightful tango coupling, praiseworthily played and recorded. Special mention should go to the ingenious use of the accordion in the orchestration and to the fascinating piano solo in Carmencita. The performances are appropri- ately intense and languorous in turn. Odeon 3521 (DIO, 75c) Polenblut and Little Mother Waltzes, played by Dajos Bela and his orchestra. Two brisk waltz performances, effectively recorded, but not exceptional in any way. Victor (International list) V-50005 (D12, $1.25) Lehar: Luxemburg Waltz and A Kiss at Dawn, played by Marek Weber’s Orchestra. The Luxemburg Waltz is one of Marek Weber’s best re- cordings, which is no small praise. The excerpt from the operetta “Friederike” on the other side is much less inter- esting than the waltz, but it too is smoothly and effectively played. 1 ; l^i Victor (German list) V-6014 (DIO, 75c) Siamesische Wachtparade, and Zug der Gnomen, played by Ferdy Kauf- mann’s Orchestra. Two little novelty stiicke that are neatly performed and recorded. Not of unusual interest. Victor (Italian list) V-62002 (D12, $1.25) Norma (Operatic Waltz), and Flower of Spain, played by the Orchestrina La Vittoria. The performances are “good and loud”; little else can be said about them. O. C. O. Band Columbia 50134-D (D12, $1.00) Chabrier: Espana Rhap- sody, played by the Band of the Garde Republicaine. The Republican Guard Band is in its best form in this release and their well recorded playing is a delight to the ear. As a performance of Espana the disk is far less suc- cessful, as the unnamed conductor takes the piece in very matter-of-fact fashion, entirely losing its distinctive verve and scintillation. Odeon (Italian list) 86027 (D12, $1.00) Mefistofele—Se- lections, played by Salvatore Minichimi’s Royal Marine Band;; cornet soloist, Lo Scialpo. A performance in the customary Italianate style—blatant, melodramatic, intense. Popular Vocal and Instrumental Columbia makes a determined spurt this month in the popular vocal and instrumental race, carrying off the team prize without great difficulty. First among the leaders are two stars making their Columbia debut: Annette Hanshaw and Willard Robison, both of whom first established their reputations under the Perfect banner. Miss Hanshaw is ranked among the best of the winsome warblers and right- fully so. On 1769-D she sings Lover Come Back to Me! and You Wouldn’t Fool Me Would You?; a fine voice, a fetching manner, and excellent recording. Robison has the benefit of the same clear recording on 1772-D, and he is in his usual ingratiating voice in Blue Hawaii and Garden in the Rain, but the songs are more conventional than his usual offerings. His own Deep River Orchestra provides deft accompaniments. Next comes one of my weaknesses, Lee Morse, heard in Susianna and Main Street on 1752-D. Why Miss Morse’s fame is not more universal is hard for me to understand, for she is surpassed by no one in this type of singing. She indulges in a few artless yodels here, but she is one of the few who can get away even with yodeling. Susianna is a particularly good song. Bing Crosby chorister of Whiteman’s Orchestra has two solos on 1773-D, Till We Meet and My Kinda Love; the voice it- self is much more interesting than the delivery of the songs. Oscar Grogan does nicely with Carressing You and A Precious Little Thing Called Love, and is aided by bright accompaniments (1754-D). The Birmingham Jubilee Choir does some fascinating close harmony in Hope I’ll Join the Band (14408-D), but Ain’t That Good News on the other side is not so good. Among the southerns the leader is Vernon Dalhart’s sad tale of the Wreck of the N and W Cannon Ball coupled with a catchy setting of Low Bridge Everybody Down or Fifteen Years on the Erie Canal. And among the race releases the headliners are as usual Clara Smith and Ethel Waters, the former in Tell Me When and Empty House Blues with amazing clarinet accompaniments (14409-D), and the latter in a fetching ballad My Baby Sure Knows How to Love coupled with a rather conven- tional Jimmy Johnson, Lonesome Swallow, to which the maestro himself plays the accompaniment (14411-D). Among the remaining Columbias are 1768-D, whereon Layton and Johnstone the “American duettists” who are all the rage in England sing If I Had You and When the World is at Rest; the singing is fair and 1 - the piano ac- companiments are good. 1770-D, with Frank Munn is not too sentimental versions of My Castle in Spain and My Angeline; 1777-,D George Dewey Washington in I’m March- ing Home to You and The Sun is at My Window; 1762-D, Ruth Etting in performances of Button Up Your Overcoat and Mean to Me that will please her'many admirers; 1763-D, Eddie Walters singing Makin’ Whoopee and I’m Kr-razy for You; 1764-D, Irving Kaufman in the topical ballad, Plucky Lindy’s Lucky Day, and You Can’t Take Away the Things that Were Made for Love; and finally 1753-D. Frankie Marvin Riding on the Elevated Railroad and The Big Rock Candy Mountains. Besides all of which are the usual southern and race miscellanies. Victor lists some of the individual winners of the month, particularly Frank Crumit’s finest record to date, The Road to Vicksburg, which has the distinction of being genuinely amusing the containing also a number of the finest rag time masterpieces, Camptown Races, High Brown Baby, Ragtime Gal,' etc., sung in the most delightful fashion. The coupling is a gay tale of The King of Borneo sung in cheerful vein and featuring a virtuoso clarinetist in the very ingenious accompaniment. May we have more releases of this type from Crumit! (The number is 21899 and is worth remembering.) Also amusing, in a quite different way, is V-40043, Bud Billing’s familiar Barnacle Bill the Sailor coupled here with a lively dissertation on How to) Make Love. Among the popular songsters Helen Kane is heard this month in characteristic vein in Do Something, coupled with a much duller That’s Why I’m Happy (21917) ; Miller and Farrell have a good version of My Troubles Are Over, with Happy Humming Bird on 21887; and Paul Oliver is careful not to make Coquete and Lady Divine too luscious despite the ultra-smooth accompaniments (21898). The cur- rent revival of interest in ministrel shows is reflected in the release of a two-part twelve-inch Minstrel Show of 1929 by the Victor Minstrels, featuring Bill Murray, Frank Crumit, Henry Burr and other Victor popular stars. • There are some good moments, but the general level is hardly more than “fair” (35961.) Also on the Victor list are: 21911, Bye and Bye Sweet- heart by the Melody Three and Raquel by the Revelers, both sung with little animation; 21893, Wedding Bells and That’s What I Call Heaven by Gene Austin, who is heard again in Dream Mother and A Garden in the Rain on 21915; 21922, Chick Endor in Good Little Bad Little You and Love Me or Leave Me; 21904, Where is the Song of Songs for Me and When Summer is Gone by Franklyn Baur; and for southern headliner, V-40014, the fourth in Jimmie Rodgers’ famous series of Blue Yodels. First on the Brunswick list is the admirable record! of admirable record of Dalvisa by the Herman Trio, reviewed elsewhere in this issue. Also in the light instrumental class is 4287, three pleasing pieces by Stone played by the A and P Gypsies under the direction of Harry Horlick: Her-