Movieland. (1946)

WORDS OF MUSIC (CONTINUED FROM PAGE 45 1 King of the Roombah Xavier Cugat draws one of his famous caricatures, of Jill, during his engagement at New York's Copacabana. Did a stint in "Week-End at the Waldorf" (MGM). such bands as Gus Arnheim, Johnny Richards and Alvino Rey. . . Harry James has a big acting role in Twentieth Century-Fox “Kitten On The Keys,” besides providing most of the music for the film. Harry worked fifty-two days out of the sixty-day shooting schedule, had eighty-six scenes and two hundred and forty-three lines of dialogue. And he vies with his former vocalist, Dick Haymes, for the affections of the leading lady, Maureen O’Hara. Pretty good, what? Several servicemen were visiting the set one day, and were introduced to Harry. One of the boys, a soldier, said kiddingly, “So you’re the guy millions of G. I.’s hate like poison!” With a startled expression. Harry asked, “Why?” The boy replied, “For taking our pin-up girl, Betty Grable, away from us.” Harry laughed and topped him with, “Well, they’d prob¬ ably hate me twice as much if they knew I’m the guy who wakes them up for reveille every morning!” A few years ago when the army decided to discontinue using live buglers, the War Department asked Harry to record the reveille call; and the James horn has been waking up sleepy sol¬ diers ever since — in large camps both in the United States and overseas. When Johnnie Johnston goes to Hollywood to make his first movie on his new M.G.M. contract, his biggest worry is where he’s going to live. Johnnie gave up his house in the valley when he came East last sum¬ mer, and can’t get it back. So he says if worse comes to worse, he’ll move his family into a trailer camp. WHAT'S BRISK ON THE DISC: COLUMBIA: Les Brown, whose records of “Sen¬ timental Journey” and “My breams Are Getting Better All The Time” have been sell-outs, comes up witlj a new one, “I’ll Always Be With You” and “’Tain’t Me.” Doris Day does both vocals. Harry James and his orchestra are present and accounted for with “If I Loved You,” sung by Buddy Di Vito, and “Oh, Brother!” with a Kitty Kallen lyric. Xavier Cugat, who’s been packing them in at the Copacabana in New York, rhumbas in with “Enlloro” and “Adios Africa.” Del Campo sings the first side and Miguelito Valdes does the second. Woody Herman has two goodies this time, “Apple Honey,” an instrumen¬ tal, and “Out of This World,” sung by Frances Wayne. . With a title like “Leave Us Leap,” you know just about what to expect from Gene Krupa and the boys. On the reverse side, the Krupa Jazz Trio does “Dark Eyes,” with Gene on drums, Charlie Venturo on tenor sax and Teddy Napoleon on piano. Kay Kyser and his orchestra offer “Can’t You Read Between The Lines?” with Dolly Mitchell asking the mu¬ sical question, and the novelty, “Bell Bottom Trousers.” All you Nelson Eddy Fans will be happy with his new Columbia album, “By Request.” There are eight sides, including “Without A Song,” “Great Day,” and “Strange Music.” Robert Armbruster’s orchestra provides the background. Don’t miss Benny Goodman’s new record of “Gotta Be This Or That.” It’s done in two parts, featuring both the band and the trio, and Benny does one of his rare vocals on the first side. This number was one of the most re¬ quested during B.G.’s engagement at the 400 Club in New York. DECCA: Here’s Bing Crosby, with John Scott Trotter’s orchestra, doing the two hit tunes from “Out Of This World” — the title song — and “June Comes Around Every Year.” In the picture you’ll see Eddie Bracken do these numbers, but you’ll actually hear The Groaner’s voice. Bing also teams up with Louis Jor¬ dan and His Tympany Five for a little jamming on “My Baby Said Yes,” and “Your Socks Don’t Match.” “Can’t You Read Between The Lines?” and “Negra Consentida” (My Pet Brunette) are done by Jimmy Dorsey and his orchestra. Jean Crom¬ well, Jimmy’s new vocalist, does the first side, and she and Teddy Walters share honors on the reverse. Carmen Cavallaro and his orchestra have recorded “Enlloro” and “Cho¬ pin’s Polonaise,” with Carmen doing a piano solo on both. “Polonaise” was the most popular of the Chopin se¬ lections in the picture, “Song To Re¬ member.” Decca is releasing another album in their Brunswick Collectors’ Series. This time it’s “Louis Armstrong Jazz Classics.” There are eight sides, in¬ cluding some of the historic record¬ ings of the twenties, with such bands as Johnny Dodds’ Black Bottom Stompers, Lill’s Hot Shots, Erskine Tate’s Vendome Orchestra and the Red Onion Jazz Babies. The Merry Macs step forth with “Sentimental Journey” and “Choo Choo Polka.” The Macs have a new girl in the group, Virginia Rees, who formerly sang with Horace Heidt. Marjorie Garland, the former canary, left the Macs because she wanted to try pictures. The Mad Mab, Charlie Barnet, has two new ones, “Any Old Time,” and “There’s No You.” Decca’s album of “The Snow Goose” doesn’t come under the heading of popular music by any manner of' means, but it’s a beautiful thing, and a set I’m sure you’ll want in your collection. The Paul Gallico story has been recorded by Herbert Marshall and Joan Loring, with a fine support¬ ing cast, and a lovely musical score composed and directed by Victor Young. VICTOR: Artie Shaw and his orchestra have two good instrumentals, “Little Jazz” and “September Song,” the beautiful tune from “Knickerbocker Holiday.” “The More I See You” and “I Miss Your Kiss” have been waxed by Sammy Kaye and his Swing and Sway boys. Sally Stuart sings the first side and Billy Williams does the second. Dinah Shore’s newest is “Along The Navajo Trail” and “Counting The Days,” with Albert Sack’s orchestra. Tommy Dorsey and his band have done “June Comes Around Every Year” and “Out Of This World,” with Stuart Foster doing both vocals. “Mood To Be Wooed” and “Kissing Bug” are the latest additions to Duke Ellington’s disc list. Joya does the singing on “Kissing Bug,” and Johnnie Hodges plays his usual .fine brand of alto sax on the “Mood” side — which melody, incidentally, he wrote with the Duke. Martha Stewart has two ballads this month, “There’s No You” and the oldie, “She’s Funny That Way,” with Lewis Martin’s orchestra. Wayne King is back on wax with his first record since his discharge from the Navy— “My Mother’s Waltz” sung by Nancy Evans, and “Remem¬ ber When,” with a vocal by George Devron. Vaughn Monroe steps forth with “So-o-o In Love,” which he sings with Rosemary Calvin, and “All At Once,” which he does alone. The King Sisters have combined with Buddy Cole’s orchestra for “Sweetheart Of All My Dreams” and “A Tender World Wili Mend It All.” ( Continued on page 55)