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THE CHAMBER MUSIC SOCIETY
Meanwhile, Dr. Levine gives us an idea of what a W. C. Handy cycle would be like ... by playing for us the master’s . . . “Beale Street Blues.”
Music. — ( Levine and octet). “ Beale Street .”
Hamilton. — We have now reached the intermission in today’s concert by the Chamber Music Society of Lower Basin Street. Before introducing our guest commentator, we will ask Mademoiselle Dinah Shore to step forward.
Shore. — Yes, Dr. Hamilton — I have stepped forward.
Hamilton. — You know of course, Mademoiselle Shore, that we’re very glad to have you back. But just to make it more official, we’ve brought in the editor of the magazine which gave you your first push forward.
Shore. — Of course, Dr. Hamilton. And if by any chance you should mean Dr. George Simon, editor of Metronome, why, here he is. Welcome to Basin Street, Dr. Simon . . .
Simon. — And whatta street, Dr. Hamilton! It’s certainly swell standing here on its sidewalk with you and welcoming back little Miss Shore.
Shore. — Thank you, Dr. Gentlemen.
Hamilton. — Well, now that Dinah is here — and we’ve got our lines straightened out — tell us what it was that first drew your attention to her singing, will you, Mr. Simon ?
Simon. — Two things, Mr. Hamilton: originality and sincerity. I think you’ll notice that those qualities are the two most important for an artist’s success in the popular field. I’m happy to say that Metronome was first to point out these traits in Mademoiselle Shore, and she’s gone up ever since.
Hamilton. — Do those two qualities of originality and sincerity mean success for band leaders, too ?
Simon. — As a matter of fact, for band leaders especially. If you look through the list of successes during the past years, you’ll find mostly men who have presented something new and who have believed in what they have been presenting. Take Glenn Miller, as an example. Most of us don’t know that for quite a while he was just another trombone-playing band leader who was in danger of being labeled as an imita
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