We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
V
Ik K
X
nrer picture, Kay Noble and the writer, Henry Albert Phillips, at the Rainbow Room. And next a view of the British Maestro "warming up" before opening his program.
1\
tn tie awry, as a young Swede. You would find him a curious combination in looks, between Leslie Howard and the Crown Prince of Germany in his prime.
His humorously-inclined upper lip is ornamented with a wisp of tawny moustache. He enters the studio casually, his well-set shoulders thrown back, perhaps his left hand in his trousers' pocket, a twinkle in his eyes that crackles | into a smile of recognition now and then, and everybody has difficulty — whether they know him intimately or not i — in not calling out : "Hello, Ray !" Although he says comparatively few words to his million-odd audience on the air, he somehow manages to get this gay friendliness over. He has won his wide popularity not only through the extraordinary musical effects he draws from his orchestra. band with astonishing ease, but also through his agreeable way of being important -instead of just seeming to be so. He intrigues his seen and his unseen audiences without , clowning, wise-cracking or eccentric antics. In other words, Ray Noble is just a regular fellow.
Let's see how Ray Noble works, in one of the most trying experiences for any orchestra leader. The occasion is
By Henry Albert Phillips
a program in which three of America's most prominent dance orchestras were to play alternately during the same hour, broadcasting from the same studio — -Richard Himber, Guy Lombardo and our Ray Noble. To further intrigue a nation-wide air audience, a symphony orchestra under the direction of Dr. Black was to interpolate renderings from the big stage of the RCA studio. More excitement was furnished by switching to the set at Hollywood, where a big musical picture was in process of making.
We sat in the glass cage of the control-room, from where we could see the three orchestras arranged along one side of the hall, the symphony orchestra on the stage and the audience that packed the auditorium, including the balconies. A brief "warming up" rehearsal preceded the big show before the audience was admitted. The most interested listeners and spectators were the band leaders themselves, sizing up their competitors and watching their technique during the periods of playing. The large and informal Mr. Himber, the smaller, nattily dressed and sleek Mr. Lombardo, with his (Continued on page 59)
41