Phonograph Monthly Review, Vol. 4, No. 1 (1929-10)

34 The Phonograph Monthly Review October, 1929 coupled with the Colonial Club’s Song of the Moonbeams (4452) ; Carl Fenton does a deft and spirited performance of When They Sing the Wearing of the Green in Blues— an attractive piece—with a more songful Love is a Dreamer (4466), and he also does well with smooth versions of The World’s Greatest Sweetheart and Smiling Irish Eyes (4467) ; the Club Ambassador does extremely well with two singular pieces, Apex Blues and My Daddy Rocks Me With One Steady Roll, chorus and piano solo of special note (7096) ; the Southerlands are rather dull'in highly ukuleled versions of Sweetheart of Sigma Chi and Southern College Medley (4454) ; the Colonial Club plays My Song of the Nile and If You Believed In Me with a good rich tone, but the ar- rangements are not particularly interesting (4486) ; Dan Russo offers very quiet, sentimental versions of Old Italian Long Song and Why Did You? (4439); Barnes’ Royal Creolian^ play a very fleet but restrained If Your Thinking of Me coupled with a smooth but interesting version of Birmingham Bertha (4480) ; the Regent Club features the marimba rather strongly in Recollections and Where the Bab-Bab-Babbling Brook (4457) ; the Jungle Band (Elling- ton) has two remarkable pieces, Dog Bottom and Jungle Mamma on 4450—orchestral effects, wa-wa chorusing, the pianny solo, and Ellington’s obsession for melodic formulae are all noteworthy; the Six Jumping Jacks provide a lively Piccolo Pete and Whoopee Hat Brigade (4457); Meyer Davis plays fair pseudo-oriental stuff in Song of the Sands (4472); and Bob Haring offers fair but not exceptional performances of the Moonlight March and Song of Siberia (4493), and There Was Nothing Else to Do, coupled with Meyer Davis’ That’s When I Learned to Love You on Foreign Records International. In the Odeon list Dajos Bela’s transcription of I Kiss Your Hand, Madame, Edith Lorand’s Goldshower and Wedding of the Winds waltzes, Dr. Becce’s Divorcee Medley, and the duet from Act II of La Traviata are all reviewed elsewhere in this issue. In addition Odeon re- leases Toselli’s Serenade and Drdla’s Souvenir by Dajos Bela’s Orchestra, featuring the conductor’s own violin play- ing (3538), and two accordion solos by Emile Vacher, ac- companied by piano and banjo (3540 Rose-Marie and In the Shops). Columbia lists three releases: 1211-F, Pagan Love Song and Let’s Dance waltzes by the Columbians and Novelty Orchestra respectively; 12112-F, First Love and Sobbing waltzes by the Novelty Orchestra; 12113-F, Tesoro Mio and Colonel Bogey, xylophone solos by Victor Sterling. The following Victor releases are reviewed elsewhere in this issue: Boris Godounow choruses by the Royal Opera Chorus and Covent Garden Orchestra, excerpts from Otelld and Madame Butterfly by Margherit* Sheridan, Mefistofele Selections by Creators Band, Tales of Hoff- mann Potpourri by Marek Weber’s Orchestra, Eva and Carmen Sylva waltzes by Shilkret’s International Orchestra. In addition, Miarek Weber’s Orchestra plays The Old Gang and Quack Quack tangos in rather colorless, fashion on V-18, and Pietro offers accordion transcriptions of the Rigo’letto Quartet and Mignon Gavotte on V-19. Scandinavian. The following might be singled out for mention: Columbia 22-98-F, dances by Jahrl’s Nyhetsk- vintett; Columbia 26094-F, patriotic songs by Elmar Waer- mo; Victor V-24020, waltzes by the Henschiens Trio; Victor V-24019, sacred songs by John A. Scott; Odeon 19 ZS 8 , ex- cellent singing by Hjalmar Olsson (unfortunately the com- posers’ names are not given, but the songs are good ones) ; and Odeon 19289, foxtrots by the Dajos Bela Dansorkester with vocal choruses. Slovak. Columbia features a two-part csardas by Struhala’s orchestra (24117-F) ; Odeon features dances by the Filova and Slovenska orchestras (18070-1) ; the Victor leader is V-73001, a two-part Golden Wedding sketch con- taining an address by the Slovenian archbiship, Right Rev. Hugo Bren. Spanish-Mexican. Among the Brunswick releases special mention goes to records by Los Trovadores (40684 and 40687), the Trio Mexico Lindo (40701 and 40740), Los Anglo-Persians (40716), Rodolfo Hoyos, baritone (40724, 40727, and 40731, and Pilar Arcos with Los Castillians in Spanish versions of Mean to Me and My Sin (40762), and songs by Lecuona on 40764. The Columbia leaders are 3658-X, marches by the Columbia Mexican Band, followed by songs by Creacion de Rita Montaner (3656-7-X), Gomez Fierro (3661-X), L. and J. Segovia (3662-X), etc. The un- usually long Okeh list is topped by dance disks by the Orquesta Mexicana (16390), the Orquesta de Cuerda del Sur (16391), and the Garza Orquesta Mexicana (16385) ; songs and sketches are given on 16382-4, 16386-9. From the very long Victor lists the following should be singled out: 46384, very strange original songs by Tata Nacho, sung to effective piano accompaniments; 46352-3 and 46388 Spanish versions of popular musical comedy hits sung by Olga Medolago Albani; 46359, duets by Cueto and Mejia; and 46286, solos by the invariably admirable Margarita Cueto. Turkish. Columbia is alone in the field with instrumental selections by Zourna on 32009-F, and popular songs by Haffouz Burhan Bey on 81006-F. Ukrainian. The leaders are Columbia 27194-F, folksongs by Liuba Wesela; Odeon 15593, a two-part Lemko folksong by Barna and Company; and Victor V-21013, the debut-disk of Dimitri Kozel, a popular Ukrainian fiddlier. Italian. Gilda Mignonette sings Neopolitan songs by Valente on Brunswick 58182, and Italian songs on 58183; Guarneri sings original pieces on 58177; Rosina Gioiosa sings Sicilian songs on 58145; I. Vesuviani plays a polka and waltz on 58173; Romito sings tango songs on 58179; and Silvia Coruzzolo, soprano, sings Neapolitan songs on 58171. The Columbia releases 14476-F to 14480-F respective- ly by Enzo Baccante, Giuseppe Milano, Ria Rosa, John Pezzollo, and the Columbia Italian Band. The excellent Rigoletto Fantasy by the Minichini Italian Royal Marine Band (Odeon 86028) is reviewed elsewhere. The best of the remaining Odeons is 9457, brilliant banjo solos by G. Vicari, followed by accordion duets on 9459, and sketches on 9456 and 9458. The principal Victor releases are mentioned under International. The others include marches by the Banda Rossi (V-12061), instrumental trios by Cusenza- Ilardi (V-12060), and dance music by Morino and his Or- chestra Veneziana (V-12063). Lithuanian. The leaders are Columbia 16139-F, folksongs by Menkeliuniute and Stankunas; Odeon 26101, polkas by the Chicagos Lietuviu Orkestra; and Victor V-14014, sketches by Zuronas and his Company. Philippine. Columbia issues five disks featuring Clara de la Rama (3664-X and 3667-X), and Jose Mossegeld Santiago (3666-X, 3668-X, and 3673-X). Polish. Special mention goes to Odeon 11435, dances by Sosnowskiego’s Orchestra of Milwaukee; Columbia 18341-F, folksongs by Marek Windheim; and Victor V-16058, a sketch of the Polish flyers by Pawel Faut. Porto-Rican. Brunswick 40752 is by Los Reyes de la Pienaj Victor 46363-4 are by Canario and his Company. Roumanian. Columbia features a band record by the Musica Scoalei M,ilitarie de Infanterie No. 1 (31090-F). Russian. The Odeon releases are 15112-3, the former fair choral selections by the Russian Art Chorus, and the latter robust contralto solos by Vera Smirnova. Columbia offers folksongs by Liuba Vesiolaya (20280-F), comic songs by Lucy Dontzoff (20181-F), and dances by the Krestyanskyj Orkester. Arabian-Syrian. Columbia is alone with a two-part popu- lar song by Zaki Effendi Murad on 26-X, and Canouns by Aly Effendi El Rachidi on 27-X. Bohemian. Odeon lists dances by the Bacova and Hudba orchestra on 17359 and 17360, and songs by Voytech Martinek, tenor, on 17361. For Columbia the Saxofon orchestra plays folksong transcriptions on G-139-F, and the Fiserova Kapela plays dances on 138-F. Bulgarian. Asen Karastoyanoff offers flute solos on Columbia 29030-F, Dorotey Vasileff and B. Christoff sing