The talking machine world (Jan-June 1922)

April 15, 1922 THE TALKING MACHINE WORLD (World of Music) 129 SBlHBIfBSHISSSHHS iHHiiiiiiiaiiiaiisiiaiiiiaiiiii^iEiiaigMs! Announcement: Oscar Adler's Orchestra formerly California Ramblers Now Headlining on Keith Circuit Open for Recording Engagements Address Correspondence to OSCAR ADLER : Suite 306 245 West 47th Street, New York City ber. It means profits for the publisher, manufacturer, distributor and dealer through the medium of stronger support by the public. The drift away from jazz for a better standard of dance music was never better illustrated than in the success of the number, "Song of India," adapted from Rimsky-Korsakoff's theme, and which became popular in a number of arrangements. Other old standard numbers have also been given modern arrangements, the purpose of which, more than anything else, is to make them adaptable for the present-day dance. So, despite all the agitation against jazz, which rather aided in keeping it in the forefront, the dance orchestras have, of their own volition, with the aid of the composers, brought about a new era in dance music. The present-day orchestra is improved, playing better music, and with pleasure and profit for all concerned. MELODY SUPERSEDING JAZZ IN THE ORCHESTRAL DOMAIN Old-time Jazz Craze Has Been Replaced by Music of a Much Higher Type Which Is Interpreted by Orchestras of Real Merit — Movement Marks a New Era in Dance Music We who have been standing on the side lines have watched for a long time past the wails and propaganda against what is termed "jazz." We saw that the effect of these vocal outbursts, campaigns and decisions to bury jazz were having little or no effect and we came to the conclusion that jazz, like any other novelty, must run its course and spend itself. That it has done just that must be the conclusion of anyone who attends the dances at the hotels, dance palaces and cabarets. The presentday orchestra is far from a jazz band; indeed, none of the popular orchestra leaders would allow himself or his organization to be billed as such. They are now society serenaders, novelty and symphonic syncopators. They no longer have the noisy effects that were part of the jazz aggregation and only in a few instances do we see the eccentric leader who is given to physical gyrations. Melody is the slogan of the present-day orchestra and carrying out the musical theme, possibly with syncopated effects, is the prominent feature of every dance program. No one would dare call Paul Whiteman's Orchestra a jazz band, nor that of Isham Jones or Eddie Elkins. These are the leaders in the dance world and it is to them that every small orchestra leader looks for his style. It is from them that he takes his methods and by following such leaders enjoys success. Edgar Benson, who practically controls most of the high-class orchestras playing in Chicago, recently sent out a notice to his clients that his offices will not furnish any jazz orchestra. Novelty and symphonic syncopating combinations are to replace the organizations of the former caliber. Mr. Benson has been in business for more than twenty-five years and controls more than sixty well-known Chicago orchestras. The musical publishers and the talking machine record manufacturers probably look with pleasure upon the completion of this movement for melody which has been under way for many months and now predominates in the present-day dance programs. The rendition of numbers to-day means that the melodies are to be carried out from start to finish in a manner that compels the patrons to remember the air. Carrying away the tune of a number that has met popular fancy means the sale of sheet music, talking machine records and player rolls of the num USING FEIST NUMBERS Songwriters Form Vaudeville Act in Feist Hits Will Predominate Which FOX GETS NEW BASS SONG 'Bells of the Sea" to Be Published by Sam Fox Pub. Co. — Already Well Received A vaudeville act composed of some of the best-known songwriters has been booked to appear on the Loew Theatre Circuit. It is composed of Harry Pease, Edward G. Nelson, Leo Wood, Abel Baer, Herman Ruby, Jimmy Flynn, Bob Miller, Herb Steiner and Frankie Marvin. Most of the songs programmed are published by Leo Feist, Inc., and include "Georgia Rose," "Ty-tee," "Wabash Blues," "Stealing," "Nobody's Baby," "All That I Need Is You" and "Georgia." The initial appearance was made at the American Roof, New York City. Zez Confrey, the composer of "Kitten on the Keys" and other novelty piano \vorks, recently wrote a new number which is now being issued in both song and instrumental form bv Leo Feist, Inc. It is entitled "Stumbling." The Sam Fox Pub. Co. recently accepted for publication a bass song which bears the title "Bells of the Sea." It is by Arthur J. Lamb and Alfred Salman, who will be remembered for such standard works as "Asleep in the Deep" and "When the Bell in the Lighthouse Rings." This new song was recently introduced at the Strand Theatre, New York, by the well-known basso, Herbert Waterous. Sam Fox, attending the performance and noting the reception of the song, immediately made inquiry as to the authors. Following a short conference he induced them to let him publish the number despite the fact that other publishing houses were interested in securing the publishing rights. Temper can be likened to dynamite. Both inflict damage unless kept under rigid control. Edith Wilson Wicked Blues By PERRY BRADFORD The meanest Blues known. Columbia Record A-3558 Sung by EDITH WILSON Played by the Original Jazz Hounds Featured by Edith Wilson in the Plantation Room of the Folies Bergere Revue on Broadway Note: — "This is the best Blues I have ever written, far better than Crazy Blues and more original." BIRMINGHAM BLUES PERRY BRADFORD, Inc., 1547 Broadway, New York