Phonograph Monthly Review, Vol. 6, No. 2 (1931-11)

34 The Phonograph Monthly Review the lightly fantastic salon piece, not the stirring, powerful bit of virtuosity that Popper has written. Marechal, easily the most dynamic of present day ’cellists, plays it with superb gusto, cleanness, and surety. An exhilarating and forceful piece of ’cello playing, recorded with appropriate vigor. Andre Bloch’s piece is in marked contrast, declamatory solemn rhapsody with Hebraic accent, broadly drawn and eloquently played. One admires it, but turns for livelier pleasure to the abounding energy and sportive- ness of the Popper dance. Organ Wagner: Die Walkilre—Bide of the Valkyries, and Widor: Symphony No. 5 —Toccata in F, played by Quentin M. MacLean. Columbia 50308-D (D12, $1.25). Quentin MacLean temporarily abandons his theatre organ novelties to make an energetic bid for more serious honors. Both playing and recording are rough- ly vigorous with little thought for clarity of detail. M. L. POPULAR The two instrumental discs are Victor 2808 and Columbia 2533-D. The former is issued in connection with the current release of the film, “Spirit of Notre Dame,” and couples a powerful performance of the Notre Dame Victory March by the University Band, with one of the late Knute Rockne’s talks to his team before a game. This latter is a remarkable document if it is actually genuine, and while the label does not state that it is actually Rockne, I believe that the talk, which is used in the film, is actually taken from a news reel recording made before the celebrated coach’s death. The Columbia disc couples a peppy xylophone solo, Clatter of the Clogs, by Rudy Starita, with a surprisingly heavy Mosquitoes’ Parade (the Jersey variety) by the London Novelty Orchestra. From the field of songsters I should mention first Gloria Swanson’s debut disc for Brunswick, hits from her film, “Indiscreet.” Come to Me is perhaps too thoroughly songful, but If You Haven’t Got Love is done in very light and pleasing manner, cleverly accompanied and recorded (Brunswick 6167). Russ Columbo, the current radio sensation, displays a typically honeyed voice and confidential style in Guilty and I Don’t Know Why (Victor 22801), Sweet and Lovely and You Call It Madness (Victor 22802). The other Victor offering is Gene Austin’s bland Blue Kentucky Moon and Love Letters (22806). Bing Crosby, now a Brunswick fixture, delivers Star Dust and Dancing in the Dark in the heavily suave style that has made him popular. For Columbia there are Ruth Etting, very sad and smooth in Guilty and Now That You’re Gone (2529-D); Kate Smith, rich and big voiced, in You Call It Madness and I Don’t Know Why (2539-D); and Lee Morse, very plaintive and dark-voiced, in Mood Indigo and Love Letters (2530-D). In the race lists the best blues are provided by Clara Smith—Unemployed Papa and 01’ Sam Tages —on Columbia 14619-D, Lovin’ Sam—Crazy ’Bout My Bozo and New Kinda Stuff—on Brunswick 7218, and Lena Wilson making a welcome phonographic return with What’s Your Price and My Man O’ War on Columbia 14618-D. DANCE Broadway shows provide the majority of the hit records in current lists. From the “Band Wagon” comes the first pot-pourri record, a medley of gems played by Victor Yound and the Brunswick Orches- tra in rather routine fashion (Brunswick 6172). I Love Louisa reappears again, this time by Buddy Campbell on Okeh 1513 in a competently spirited performance, as in the coupling, Me. More notable is Fletcher Henderson’s zestful version of Sweet Music, coupled with an equally peppy Malinda’s Wedding Day (Victor 22775). From the “Vanities” of Earl Carroll come Tonight or Never and Have a Heart played in Reisman’s characteristic polished and graceful style (Victor 22794), and Tonight or Never and It’s Great to be in Love, played with fair swing and smoothness by the Knickerbockers (Columbia 2526-D). The new George White “Scandals” con- tribute the most numbers. Life is Just a Bowl of Cherries and This is the Missus are played by Rudy Vallee on Victor 22783, and Ben Bernie on Bruns- wick 6165. Ted Wallace plays the cherries song on Columbia 2523-D (coupled with a very suave and dark Guilty), and Ben Selvin plays This is the Missus on Columbia 2515-D. All are pretty good, but I think Bernie’s bright version has a slight edge on the field, although Selvin does very well and Vallee has a neat imitation of Willie Howard. Vallee’s is the only ver- sion of the very bland The Thrill is Gone, coupled with My Song on Victor 22784. Selvin also plays My Song, equally suavely, on Columbia 2515-D. Brunswick: perhaps the best is the ever admirable Casa Loma orchestra in a lively and attractive coupl- ing of It’s the Girl and Take It from Me, both played in ingenious arrangements (6159), but Frankie Trumbauer comes a close second with sentimental but interesting versions of Georgia on My Mind and Honeysuckle Rose (6159). Isham Jones plays his own Spain in attractive fashion, coupling it with a pleasing Swinging Down the Lane (6161); Ben Ber- nie turns in new and quite original arrangements of Me and Sweet and Lovely (6166); the Regent Club plays routine versions of Kiss That You’ve Forgotten and Just a Dancing Sweetheart (6168); and Abe Lyman give vigorous performances of I Can’t Get Mississippi Off My Mind and You Can’t Stop Me from Lovin’ You (6158). Columbia: Best is Guy Lombardo’s Blue Kentucky Moon and After You’ve Gone, both marked by superb finish and tone (2528-D), and the same band’s coupl- ing of Without That Gal and How Time Can Fly, both played with rather more animation than is usual with the Royal Canadians (2475-D). Paul Tremaine plays a characteristic rhythmic spiritual, When Gabriel Blows his Horn and a more conventional I Wanna Sing (2462-D), and a haunting version of Can’t Get Mississippi Off My Mind coupled with a richly sonorous Give Me Your Affection Honey (2510-D). Less striking is Fred Rich is pretty heavy versions of Kiss Me Goodnight and Dancing Sweet- heart (2534-D), and again with a more effective If