Radio romances (July-Dec 1945)
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(Continued from page 14) er rather than help the music. As George neatly explains it: "We don't wear funny hats and we don't stand on the chairs for an effect."
After George got his professional seasoning, he expanded his musical training (he can play piano and any brass instrument, though he concentrates on trombone) by studying the famed Schillinger harmony method. As an arranger he won quick renown and was much sought after by top-flight leaders. Paxton not only could help make an orchestra play brightly and distinctively, he could spot the individual merits or flaws of each musician.
It's Wednesday nights at 9:00 EWT, on CBS, for Frank Sinatra's fourth year in radio.
Charlie Spivak and others paid George to help them organize their orchestras.
In 1941 blonde, curvaceous Ina Ray Hutton urged George to join her outfit. Curves are a splendid asset to any musical combination but sound musicianship is a necessary though not as obvious essential. George accepted and became an equal partner. The association clicked. Last year he sold out his interest at a fat profit and went out on his own.
Paxton's band, strongly backed by shrewd Tin Pan Alleycats, broke in in Florida, worked its way to New York, clicked in Roseland Ballroom, and in the usual pattern, won approval in theatres, hotels and in a number of CBS and American network air shots.
The band is not making any money now. No new band gets out of red ink for several years, but George, with a neat bankroll accumulated, is perfectly willing to wait. So are his men.
George never worries about losing his men to other bands. His explanation is amazingly simple.
"They like what they're doing."
But that doesn't stop Paxton from wooing new converts. A stern workman, he is constantly seeking ways of improving his orchestra.
The night I saw and heard him he was having a hectic evening. He was planning a vocalist change, and between torrid sets on the bandstand he and his manager were giving a solid salestalk to a prominent sideman at the
moment associated with another orchestra. I didn't wait to see how George and his manager made out but the chances are they grabbed him.
RADIO ROMANCING THE RECORDS
(Each Month Ken Alden Picks The
Best Popular Platters) FRANK SINATRAf (Columbia 36830) The unbeatable songteam of Styne and Chan gives Frankie two more topdrawer tunes from his film "Anchors Aweigh" — "I Fall In Love Too Easily" and "The Charm Is You." A platter must.
SKIP FARRELL & THE DINNING SISTERS: (Capitol 209) A new harmony blend that bears listening. "Love Letters" and "Homesick" is a praiseworthy sampling.
PERRY COMO: (Victor 20-1709) One of our better baritones gives a lyric treatment to Chopin's revived Polonaise under the title "Till The End of Time." LES BROWN (Columbia 36828) turns in a creditable job on the same haunting melody.
BENNY GOODMAN: (Columbia 36823) Turns to his inimitable licorice stick for a slick rendition of "June Is
Ethereal soprano Francia White was a summertime star on CBS Electric Hour.
Bustin' " and an instrumental jump ride ' appropriately titled "Clarinade." DINAH SHORE: (Victor Album) The Nashville thrush pays her tribute to George Gershwin with a foursome of the composer's better tunes, including "Do It Again" and his last composition, "Love Walked In." Charlie Spivak turns in a noisy quartet of Gershwin "Porgy" melodies. Gershwin fans will turn away in droves, but Spivak fans may care for them. KING COLE TRIO: (Capitol 208) Discdom's number one instrumental trio turns in another dusky pairing with "Shy Guy" and "I Tho't You Ought To Know-" Definitely recommended.
VAUGHN MONROE: (Victor 20-1687) A juke box favorite because burly baritone Monroe sings a sad lyric of broken love affair called "Two Cigarettes" that for some reason is frowned on by network censors. Reverse is "No More Toujours."