Screenland (Jul-Dec 1948)

The Harmonica." Everybody knows the mischievous cartoon rascal with the 5note laugh who works for the toothpick companies; well, the whole deal's been set to music with Gloria Wood peckin' away and it's tres cacciatore, morning glory! Flip's about the chick on the deck at Santa Monica who's probably a product of the record ban and is working on a lyric to "Fiddle Faddle." (Columbia) JO STAFFORD: "Better Luck Next Time," "Roses Of Picardy," "Suspicion," "Clabberin' Up For Rain." Cinderella G. Stump, unfolding all her versatility on a baking of 4 newies, the first from "Easter Parade" and the familiar standard, with all of her new found warmth and tulip-like tonsils. Then the Chesterfield kid takes her 6B's off and clabbers up for a brace of mountain-william tunes in that raucous country style she first put down on "Temptayshun." (Capitol) KING COLE TRIO: Every artist reaches peaks and valleys in his record output — some great, some mediocre, joker. Well, you can't have "Nature Boys" all year, can you? But it's still my man Nat Cole and that gleesome threesome and 4 fresh hunks of ear balm, "It's The Sentimental Thing To Do," "Put 'Em In A Box," "My Fair Lady" and "A Boy From Texas." Nat's mediocrities are so far above the average performer's best efforts, you just grab his slabs automatically. ( Capitol) VAUGHN MONROE: The wonderful guy with the clothespins on his nose stands pontifical and delivers three more samples of those poor man's Nelson Eddy tonsils, "Give A Broken Heart A Break," "Melody Time," the title recital from the Disney celluloid, and "Blue Shadows On The Trail," also from the film. The Moon Maids help Vaughn unwind those stiff vocal chords, which means it's sure to sell millions! Fourth side spots the kid who's loaded with it, Ziggy Talent, in the saga of "The Maharajah Of Magador." (Victor) THE ANDREWS SISTERS: Don't know what's your pleasure, treasure, but these ears are surfeited with the product from these gals' thoraxes which sound the same on every bit of shellac they mistreat. The public apparently is attuned to their drivel, 'cause they sell like mad, so the gals are not at fault. They're just givin' 'em what they want, and they're fine chicks every one. "Heartbreaker" is another in the long line of their nowhere products, but "Sabre Dance" touches the depths as the worst thing ever made — barring nothing. "Near You" was the "gonest" in comparison and "You Can't Be True, Dear" was heaven. (Decca) DICK HAYMES: "It's Magic," "It's You Or No One." This'll make up for it though — 'cause Richard opens the door to those wonderful tonsils and you can really dote on this compote from "Romance On The High Seas." ( Decca) DINAH SHORE: Melissa's Mommy crunches her pretty crockery with the 64 bars from "Easter Parade," "Better Luck Next Time" and "Steppin' Out With My Baby," carving a thing of melodic delicacy as always. Then there are two great standards that get fed some vocal pablum by Mrs. Montgomery, "I Get Along Without You Very Well," Hoagy Carmichael's great tune, with an intriguing echo effect throughout, and "I'll Be Seeing You," which has been cut by lotsa of tonsil artists but this 'un's the end! Yummy! (Columbia) STAN KENTON: Here's the biggest selling album in the Eagle's Nest and the most controversial — "Concert In Progressive Jazz" by the Long Leanster. Though there are many disappointing things in the album and it seems Stan is really blowing his top, it's still fresh, vital music. Our favorite is "Monotony," a perfect musical description of just that. There's "Cuban Carnival," blending the Cuban rhythm with our own, "Lament," spotting Laurindo Almeida on guitar, "Elegy For Alto," with the proficient horn of George Weidler, "Impressionism," a descriptive impression by arranger Pete Rugulo, "Fugue For Rhythm Section" and "Lonely Woman" and "This Is My Theme," with June Christy. This sheaf's a must for any tone arm. ( Capitol) ALSO EAR WORTHY: TONY PASTOR'S "Boy From Texas," 'bout the kid from that state who digs love in the big city, and "Rambling Rose," showing how you, too, can train your chick to grow on a trellis 'round your portal, mortal. (Columbia) . . . ANDY RUSSELL'S languid bracing of "It Only Happens When I Dance With You," from "Easter Parade," and "If I Were You," from "On An Island With You." (Capitol) ... The zestful little chestful Kay Starr, with the lusty larynx on "Don't Let Your Love Go Wrong" and "Snuggled On Your Shoulder," yesteryear stuff that would dissolve a cliff the way she chirps 'em. (Capitol) . . . FRANK SINATRA'S "Nature Boy," "S'posin' " with the Johnny Guarnieri trio, and "It Only Happens When I Dance With You" and "A Fella With An Umbrella." from "Easter Parade." Axel Stordahl surrounds those great bronchial tubes with those delicious bits of catgut as usual. (Columbia) . . JERRY WAYNE'S "Betty Blue," fine follow-up to his other hit slicings with The John Lunds attend party for Bing Crosby after "Emperor Waltz" premiere. the Dell Trio. (Columbia) . . . DESI ARNAZ' "Rhumba Rhumbero," with gallons of gusto from Lucille's boy, and "In Santiago, Chile." on the flip of this enchilada. Ees someseeng like "Manana" I theenk! (Victor) . . . PERRY COMO'S crack at those "Easter Parade" ditties, "Better Luck" and "It Only Happens When I Dance With You," is nice grist for your mill. (Victor) . . . The Boston Pops really gets that Metronome up to ]68 for the delightful, jazzlike "Fiddle Faddle," one of the most infectious things since poison ivy. (Victor) . . . ART LUND'S "It Was Written In The Stars," "What's Good About Goodbye," "For Every Man There's A Woman," "Someone Cares," "It Only Happens When I Dance With You" and "May I Still Hold You." (MGM) . . . FR ANKLE LAINE'S "That Ain't Right, Baby," groovey blues with all the zest and holler those Laine cords possess. (Mercury) . . . PEGGY LEE'S "Caramba, It's The Samba!" follow-up to "Manana," with "Baby, Don't Be Mad At Me" on the flip, lush mush, but real plain. (Capitol) . . . MEL TORME'S "Cottage For Sale," gorgeous performance by "The Velvet Fog" on the great Willard Robison standard with some light, cute bounce behind "I Want A Girl Like You." Mel's in MGM's picture, "Words And Music." (Musicraft) HOT!!! HARRY JAMES: Jesse James' daddy on the flames on a brace of reissues that you've been screamin' for. And just like a fish loves the ocean, and a union collector his dues, like a dog loves his master and an indigent housewife her stews ■ — so will you love the "Trumpet Blues" and cantabile, which happens when the fiddles begin to faddle. Flip's "The Carnival Of Venice." (Columbia) LIONEL HAMPTON: "Rockin' In Rhythm." The Hamp wraps his band around two sides of Duke Ellington's famous composition but it sure doesn't sound like E.K.E. (Decca) DIZZY GILLESPIE: Yeah, as I live and bop! Diz does everything! Specifically "Ool-ya-koo," Diz' first cookie using his new bongo player, Lou Gonzales. And when the modern stuff is flavored with a dash of Cubano, Joe, well, it's hard as lard, and twice as greasy! Title refers to a be-bop vocal, like "Oo-papada" or "Dob-bla-bli." Diz does wonders on that horn, and if the scads of imitators have you bewitched, bothered and bewildered about bop, just dig Diz, the master. Flip is "Good Bait," one of John Burks Gillespie's standards. (Victor) GENE KRUPA JAZZ TRIO: Genie with the light brown drumsticks and this kid just finished a picture for Columbia, another in the "Thrills Of Music," short subject series, and if you don't ask your theatre man to play it, we'll hit you on the head with our beanbag. This waffle is the sequel to "Dark Eyes" and spots the marinated tenor of Charley Ventura with Teddy Napoleon stroking the Steinway on "Stompin' At The Savoy" and "Body And Soul." (Columbia) FREDDIE SLACK'S BOOGIE WOOGIE: Oh, get thee behind that 8-beat! 52 SCREENLAND