Variety (Oct 1935)

Wednesday, October 16, 1933 MUSIC—NI¥E CLUBS VARIETY 53 Night Club Reviews PARADISE (WEW YORK) New York's, nlte life being what It Is these days—a sophisticated, fiiveTltoeTCU£4fi3«.ers-better-than-a^ even-break, sort of an enterprise-^ the ultiiiiate in nocturnal diyertlsse- pient is on view In almost every spot. And the bigeer the spot the inor6 jealous they seem to be to preserve their popularity. The Hollywood eyldcncee that >ith Its new and brilliant show, and how the Paradise, Its across-Broad- appvraitlon, 4oi>s -ev€ryHiiJiff In the eierles of. the Paradise parades by bringing In Georgle, Hale, who lias fashioned a corking floor show. It's probably the tops In orthodox nlte club entertainment. Forget- ting about the converted cabaret- theatres, and the' advantages of scenery, hanging drapes, lightings, an elevated rostrum, etc., this is a regular ringside cabaret with a whale of a show. If running long, its two hours never bore. And that's saying plenty for a cafe revue that rims frotn about 7.45 to 9.45. It'll have to be trimmed but it holds so much sock aroo talent it's gonna be a pi'pblem on cutting., For one thing, more and more, do spots like the Piiradlse, Hollywood, the French Casino,. Versaines,. the sundry hotels. Rainbow Itoorti and the many other more Intimate rooms evidence- that the riiterles may prove vaudeville's salvation. Just as the radio viariety shows absorbed the cream of the stage variety tal ent, so do tlie niterles. utilize a yrealth of talent. Besides the 24 line girls, four modernistic . dancing girls and 12 show girls (40 in all), here are the acts at the Paradise In sequence: Barbara Jason, Kay Picture, pat Paree (leading the Mlnsky strip), Brodel Sisters (3), Bill Brady, Edna Sedgwick, Saxon Sisters (2). The Reyes (2), Billy Moore and Jane Revel, Stan Kavanaugh, Byrnes and Farney, Four Modernists (Interpre- tative dancers), Jean and Gloria, and Peg Leg Bates. Hale staged; Nils T. Granlund (NT(}) per usual ni. c.'s, and gen erally paces the proceedings In a manner which has made him a name with the visiting firemen; Ben Oak- land and Milton Drake fashioned the special son^ material, and all good; settings by Paul DuBois; cos-, tumes, Mme. Bertha.. It reads like, a musical comedy program and well nigh plays like .one.. Much punch to this new show which experienced no little grief in getting started. Four acts pro grammed in the printed credits dropped out for one reason or an other, Ella Logan, Buster Shaver with Olive and George, Bob Lawr rence (alumnus of Paul Whiteman's band) and Ray and Grace Mcttoh- ald, dancers, plus Dick Dickson and some other people. Instead, there have been substl luted some sock specialties, most notable of which is Bill Brady, bar! toning vice Bob Lawrence. Young Brady, who somehow or other was a bit of a secret when warbling at Leon and Eddie's saloonery, has come into startling Broadway con sciousness this past week, strictly on the strength of his presentation at the Paradise. He looks swell in white tie and tails Xsans top hat) deports himself with due decorum and modesty, warbles a manly and mean baritone, and looks the cinch for pictures and production.- Click No. 2 is Peg Leg Bates colored monopedic - dancer who truclvs it arid struts In great style, and letis out that tellingly Ingratiat ing personality for fine effect. surprise click No. 3 is Stan Kav anaugh,' the Australian juggler who's been around in the world' vaudevilles for years but somehow has Just been 'discovered' because he's presented on a cafe floor.' Solo, amidst a melange of gals and tal ent. he whams 'em, Moore and Revel, among the top most outstariders, are, of course, taken for granted because they've been aroiund so often of late in, the Broadway presentation houses an productions. On a cafe floor they're even more effective. For one thing Jane Moore impresses more than ever before as a titlan looker With a fine sense of polite- mugging an comedy values which should giv, the Hollywood picture talent scouts some ideas. She's a pert miss whose comedy autics exaggerate things such, as those comedy dogs; actually it's' a small tootsie but the way she throws around her feet in the ballroom burlesquery they. look over-^ proportioned. Billy Revel is as ever a corking foil. Their pseudo- dignity before going into the ball- pom -hokum heightens the general effect. From California come Byrnes and Farney, a cute pair of steppers. Mixed team and highly personable. "The .gill's a charmer and the boy one of those rare personalities. In se<luenGe, the show tees off with a peach of an intro number, 'From ]j6 Circle.to the Square.'' There is ractlcal scenery, ih miniature, oh a newly built stage, with curtain, iighting, etc., in itself a departure. The Paradise's moveablei platform vrhich elevates the floor for full vision is retained; -.. the stage is riiierely the added wrinkle. .Barbara Jason leads this;. Kay Picture does tap specialty and Pat Paree's tease and cooch In the Mlnsky strip (as the action moves from Colum- bus Circle Into the Times Sq. sec- tor) is a hot starter. There's a radlujh-effect finale that's telling, and the glrle Impress from the start as ajnodg the Paradise's champ lookers. Granlund's choice in picking the gals probably figured here, as in the past, when, he also collaborated on the revue staging. Georgle Hall soloed on this chore arid a great job he's done of it, top, in the style of presentation. "The ' Three Brodel Sisters with tapJ3 click. Avenue of Trees' is an elaborate production flaph with the beauts parading. Edna Sedgwick's toe Jazz, okay. Saxon Sisters with their 'Carloca,' 'Ain't (Sot Nobody' and 'I Know That You Know,' all special ar- rangements, might mix up their Al Slegelesque style. Too inuch of the high-pitched sustained note stuff. Siegel's vocal arrangements when fresh two years ago were a nov elty; now being too stylized and while the Saxons are among the better exponents they should leairri change of pace. 'Blmini' is another nifty produc- tion flash. This is the. Caribbean rumba spot for the personable Reyes (2) who've been around in the better spots.- 'They're a cute Latin pair and at this show caught she evidenced extraordinary game ness by coming out after suffering a bad. backstage spill. Barbara Ja son leads. Costumes cute and ac tlon sizzling.. Brady, who sings like Crosby but also can pitch his voice into a take off on Mort Downey, handicaps his personality by hugging the mike It's a common neophyte fault. It eclipses his face and isn't neces sary.. Can easily be corrected. Kay Pictures (announced by Granny as having an M(3M con tract) with some more taps and pretty—personally and hooflrigly 'You're Pretty as a Picture' is musical comedy production stuff, Dramatizes some of the better known ads, with some novelty com- edy interpretations to boot. NTG heralds some of the champ models are In the parade; doesn't matter if he just made that . up. They lopk it, however. Incidentally, Granlund's iri. c.'ing is no small factor in the click of the proceedings as he knows how to pitch the interest and properly pace things for best results Kayanaugh .with h'ii comedy jug- gling mbpup, followed by the cute Byrnes and Farney. Next tbi^ Four Modernists with Jean and Gloria in a lesbo terp idea whith is as-you like-it. Gals in the undress against a -triplex mirrored backup (a la French Casino) polishes It off nicely. Peg Leg Bates In the.ace groove and the finale, 'What This Countiy Needs,' a corking intimate number. Jfeiry Freeman, long a Paradise fave. With his terp music, works two jobs here, playing for the long.show (and how!) and also on the darisa pation. (ilenn Hiitton billed for the relief corribo. For a $J,.50-$2 dinner, no convert and no minimum, . the; Paradise should jam 'em in with this .show It's among the tops on the street. Abel. Most Played on Air To famtUarize the troAe v,ith the. times most on the air aromid New YorJf, the fdUoicing is the ■listing of the sonojs most played on the cioas-country nettcorka last toeek. An relative standing, according to the appr.oximats nuniber of cothhined phi as on WEAF, WTZ and WaBG. In the ood for Love Cheek to Cheek Treasure Island You Are My Lucky Star Top Hat, White Ties, Tails No Strings Piceolinb Broadway Rhythm i Found a Dream Isn't This a Lovely Day. Here's io Romance Double Trouble It Never Dawned on Rose in Her Hair I'm on a See-Saw Rhythm and Romance Without a Word of Warning I.Wished on the Moon Every Now and Then Tender Is the Night In the Dark Lulu's Back in Town Got. a Feelin* You're Fooli I Wish i Were Aladdin trucki ♦ Disc Reviews By Abel Green Frances Maddux with her pert songs at the ivories arid Ramon and Renita, that they clicked as thiey do: Ray Noble's orchestra and Ramon Ramos' tangoists have be*n here for quite a spell as the dance dispensers. Ramon (ex-Rosita) with his new partner; Renita, is back east after a Holly wood and Reno dancing sea- son and still tops with Tiallroom- ology. Opening with a single- timed (new Ramon-rhythmed) waltz, then tango and into a Brazil- ian zamba (forerunner of ' the carioca), Ramon and Renita regis- ter with their impressive dances. They're a striking pair as they de- scend from the elevations back of the band onto the dance fioor. Ramon's Latin personality Is force- ful antithesis to Renita's perspnab)e blorideness. For an encore, after Miss Maddux' speciality, they do the 'Ravelero' (announced as a tribute to Maurice Ravel) but eschewing the now overly-popularized Ravel's bolero music. Instead they use an odd five.-rhythmed arrangement after the riianner of Ravel. In toto, R&R present a routine of terps that are patterned for novelty as . well'as intrinsic dance distinc- tion. Frances Maddux' clever lyrlcizlng at the ivpriea seems to be a bit unr der wraps. In warmer company, away from the Rockefeller aura, she's uncorked sonie nifty ideas in hyper-sophisticated rhymes which the 'nice' jpeople didn't seein to niind and have long since come to accept as part of the iregular nocturnal routine. Noble:of course is as ever effec- tive with hie dansapation. The English bandman knows the dance tastes on both sides and they go heavily, for his brand of music. Abel. VERSAILLES MANYA and DRIG0 Held over at Roosevelt Hotel. New Orleans, sixth week, thru the courtesy of Lou Irwin.. "A genuine .sensation.'' — Wa.shljurn in the New Orl<;an.s Morning Tribune. "The. girl is one of thfe mo.st Bparkllng dancers ♦ • exceptional grace and delicate technique * * dramatic," review from 'Variety.' RAINBOW ROOM (NEW YORK) This being the Rockefellers' iiite club, perhaps the idea of class, as interpreted by the .stalf and every- thing about the room, is one of stern aloofness. For there's no dis- puting that the liainbow is a coUl room. Maybe Managing Direotpr John. Roy doesn't Intend ll to be. for he's a very alT.ible gent por.soii- ally, during and between business hours, but .somehow* that may be the answer to why business hasn't Ix'cn' what it should either at the ilnin- bow-. Room or t]ie Rainbow Grill informal' rof)m on ihc (NEW YORK) One of those phenomena of New York's noctui-nal show biz is the Versailles which has been a clicker for a full year now and is maintain- ing a fast pace in its present East 50th stre-et site, formerly the home of the Little Picture House. Maybe because it was the Idea of reversing the cabaret-theatre stunt, but from the start the Versailles rang the bell Nick Prounls and Arnold Ross- Held since then have been spending for attractions, mixing them uj) cannily. Where it. may have packed •em in with a Harry Richman and not made much net becau.se of the overhead, it has seemingly had its good effect for purposes of mohien- tiim. It more than averaged up somehow. Lucienne Boyer has now been brought back to America from Paris. In for four weeks, and then en tour in concert. Henry Carson, her Paris manager, is over with her, setting the details; also her composer and collaborator, Jean Delettre ('Parlez- moi d'Autre Cho.se,' 'Parlezrmol d'Amour.' 'Attends,' and others), plus her own piano accompanist and vi<jUnist. That's doing it right. ."Arid a corking cafe attraction shf" Is, too. Long a standard in the ^ood ole ■ prc-19:.9 days in Pari^; wlu')-e she drew the' cosmopoliLai; of the world to her Montmarlr pitcrv. shr:'s also rlifkPd since av her own Chez TillC; in Paris, and in thn music halls, on the disks. <'\c. .She's a pc-rsonallty girl who s«!lls- and or hot. It doesn't make much differ- enre., They get her. Keepin' a l.':30 Latter is the - , - ... v. * * . other side of the C.-jth story of th" sun^s with thp best of em i ROA, bUlg. which houfie. boll) whether she .s 100% '[l...^'i'/i nlterics. A dress suit as a 'mu.st' for a 'litery lias never been knowji to be I (lelei-iei.t t.i the al U-a.-co spli-it. H> that (-;ji)'t I; • it. -Hut tlie Kfiin- !)0w Room is .(MM-taliily one of th<' i .ougliest I'ooir,'-, from the perforin- ■>rs' vlewroini fspeoially. It's to the credit therefore of Disk recording sales being what they are. It's to the credit of mOst recor ing artists that they apply,.themselves .as dili)5;ently as they do to the chores of fashioning worthy waxings of .the current song material. The average royalty statement to a publisher of spme of the sales would make many wonder why everybody concerned bothers much about it, one way or the other. The disk makers may be regarded aa living in the hope of a renais- sance, and that would apply to the copyright owners and the song- writers. As for the recording artists, ap- parently most of them regard their records merely as worthy advance agents for their talents—a sort of audible ad for their abilities. Or it rhay be the vanity angle' of being waxed for posterity. And,* too, tliere^s also the chance that by some freak of public fancy an occasionar record' will emerge as a truly good seller. The recent splurge in the 'Top Hat' music is an Instance, but such Instances are too' freijuently exceptions to even warrant getting excited about. Stlir that doesn't deter a Hal Kemp as on Brunswick. 7503 and 7517 from doing things with 'So Nice Seeing You Again' (from 'We're in the Money') paired with the English novelty, 'The Gentle- man Obviously Doesn't Believe'; or 'The Girl I Left Behind Me' coupled with Splna-Burke's oddity, 'Moon With a Hangover,* a sPrt of a.Regl nald Foresytheish^captloned fox- ti'ot. The Kemp technique of brass and harmonic reeds for staccato terp effects is at its best. Skinny Ennis and Maxine Grey vocalize. On the subject of Foreeythe* that British West Indian ultra-mbdeme composer, is representing on an im ported .Columbia master, 'Camem- bert' (Young) and Handy's classic 'St. Louis Blues,' which Foresythe piano-duets with Young and solos, respec. on No. 3088, an oddity in Stelnwaying. ' Also from England, Decca 551, offers Ambrose's versions as Ber- lin's 'Piccolino' and 'Embassy Stomp' (Bert Barnes), both done as brisk one-steps^ Victor 25137's British importation is by Joe Jack- ton's orchestra from the Dorchester Hotel, London, doing 'Oregon Trail' and 'I Love YOu Gypsy,' is likewise snappy dansapation. Geographically shifting to the West Coast, Anson Weeka gives out a foxtrot version of the waltz song from 'Petticoat Fever,' titled 'Some- thing to Remember,' coupled with 'It Looks Like an E^arly Fall.' Kay St. Germaine and Ben Gage respec. on the vocals, and the Weeks dance style as ever effective: Jimmia Grier on Brunswick 7519 with 'Lovely Lit- tle Y-O-U' and 'I Love You, I Think' (both in Which he collabed) are equally sprightly foxtrots. Larry Cotton and Joy Hodges vocalize, Decca's California entry Is Qrville Knapp's smooth 'Girl I Left Behind Me' and 'Accent on Youth,' Norman Ruvoll vocalizing.. Rhythm stuff: continues unabat- ed. Horace Henderson's heated in- strumental, 'Jamaica Shout' stands Louis Prima's New Orleans Gang In good .stead for one of theilr charr acterlstlc Jazzapations on Bruns- wick 7524. 'That's Where the South Begins' Is the companion piece. England's idea of the Prima- Wannbne-Waller school is Nat Gonella and his Trumpet, backed by a swing, combo. It's corny hot, but undeniable for the average standard of jazz heat. 'When You're Smiling' and 'Rockin' Chair" are the selec- tions, with Gonella also giving out the vocal hl-de-hl, Decca 546. Not corny, but tres hot Is Benny Goodman's 193.5 visrsion of Dixieland rhythm with 'Dear Old Southland' fCreamer-Layton) and Irving Ber- lin's 'Bluo Skies,' rhapsodized aa Berlin nPver di-camcd it would be. Pl(3nty of ultra clarinet and brass moduliatloris In the standard Good- man technique. Victor 25136. I Fats Waller again oti Victor 25116,' 'Tiuckln,' the new Harlem danc? craze, and 'The Girl I Left Behind Me.' Ort No, 25120, Waller again with 'Darn Charming' and 'I'm oh a See-Saw,' Engli.sh Impoit tune from 'Jack and Jilly' (Desmond Carter- Vivian Kills), \vith VValler waxing jocose in comli; exaggeration of a serious-voiced baritone, and then, shifting into his 'characteristic swingology. 'Triiekin' Is the theme of a new danf-e craze, but .so i.s' 'N.agasaki,' ; now fi)lloi|ulalIy called 'the ole na- tlon:il antheiri' of the Llndy HoD- poi-.*.-. .Vs Cab Calloway does it, ba<-l;e!l'with '.Miss, Otis Itegrets/ it's just loo bad. Brunswick 7r)04. .M(;)-e heated dansapation: Decca "iiil by the Dorsey Bros, orches- tra 'fiipijer Mtyuth,' a jazz elasslc Dorseys, on Decca 559, are coupled 'Sunday Afternoon' and 'Lucky Star.' Bob Eberle and Kay Weber on the yoca.ls. Ozzie Nelson cuts ud with 'Titter Rag,' perennial Jazz fatre, and 'The Whisper Song.' Brunswick 7523. Li4cky Millinaer'-Tnaestroing .MilU Blue Rhythm Band is also very hotcha on Columbia 3087 with 'Ride, Red, Ride" and 'Congo Caravan' -(Joe Garland), latter an oddly or.- phestiated foxtrot with an Interest- Inig bass to preserve the idea of tHemitrc title. ' ' ' " . More heat; 'Liza' (Gershwin) and 'Hotter Than 'Ell' (Fletcher Heij- derson) by the Henderson dance coriibo, on Decca 555; while Teddy Wilson Is 'Painting the Town Red' with "Swieet Lorraine' on Brunswick 7520, forthright, rhythmic foxtrbt- ology. Race disks pf unusual novelty value which should sell them into channels beyond the restricted col- ored patronage are by Slim Green and (Gladys Palmer, two new solo- ists on the Decca lists. Decca brought out Bob Howard, Cleo Brown, et al. on wax, and should repeat with big sellers in these two mkdwestern. dusky ipianologists. On Decca 7104, Slim Green fakes 'Cocktails for Two' and 'With Evei-y Breath I Take' and does vocal-guitar tricks that are just too bad. On Decca 7106-7, Gladys Palmer has her peripetatic pianologlstic moments. First couplet is 'Middle of a Kiss' and 'Livin' in a Great Big Way'; second, 'Trees' and 'Get Be- hind Mp: Satan,' and likewise very heated. It's Cole Porter Last riipnth it was 'Top Hat*; now it's the riew Cole Porter music from 'Jubilee.! Whiteman, Cugat and Green split it on the major releases. Paul Whitcman shoWs a few nifty symp' oriic syncopation tricks on Victor 25134 with 'Why Shouldn't r and 'When Love Comes Your Way,' fox and waltz, with Bud Lynn, new Wbiteman protegee, whammln' over a cbrkihg top tenor interlude. Victor 25136 also by the Whltemariites, couples 'A Picture of You Without Me,' one . of those 'You're the Top' type of clever wordages by, Pprter, backed by an- other waltz, 'Me and Marie.' Here Ramona, the King's Meii and Ken Darby do the vocal honors. Two waltzes in one musical, com- edy score is in itself a novelty, but three In one show, and a Porter score .at that, is positively unush. Xavier Cugat and his Waldorf-Aa- tbrla rumba-waltz combo, handle 'Waltz Down the Aisle," backt-d by 'Begin the Beguine,' rumba, Don Reid vocalizing. Victor 26133. Ramona and Her Gang are in- dividually presented by Whiteman on Victor 26138 with "No Strings' (Berlin) from 'Top Hat' and 'ISvery Now and Then,' pop fox, wherein the Whltieman muslcr^ teani backs up Ramona, piano-vocalist with the Whitemanltes. Johnny Green on Brunswick 7521 pairs 'Picture of Me' with 'Me and Marie,' latter the old-fashioned Ger- man type of waltz, cjeverly accentu- ating the Heinle brassbanders in the arrangement. No. 7522 couples 'When Love Comes Your Way* (waltz) with 'Why Shouldn't I?.' fox. AH frorii Porter's 'Jubilee.' all featuring Green's pianologlstic dex- terity in the skillful orchestrations. Marjory Logan and Jimmy Farrell on vocal interludes. Decca offers a flock of Crosby. Both Bing and his kid brother Bob. Blng, bapked by the Dorsey Bros, orchestra, on Decca 543 vocals 'Wished oh the Mopn,' his sole chore In Par's 'Big Broadcast,' paired with 'Two for Tonight' from the film, of the same name. No.-547: 'Wished on the- Moon* and 'Top of Your Head'; No. 548, 'Takes Two to Ma'.ie a Bargain' and 'Without a Word of Warning,' all from 'T^vo for To- night,* and all with the Dorsey*a skillful Instrumental accomp to Ring's usually corking vocal style. in ultra modulations l>y Joe Olliver, \y.n:\:c'\ liy 'Centlcman, ()bviously | :i!m! bunch "quiet—and in'a forel.tcn j l)o!-.<:n't IJiOleve:* On Decca 560, the t,,„;.ue—giv(•.^ an idea of her com- I fJorseys go into a jazz 'Tallspin' (by M>]|lnc style. - Only two shows -hortly after midnight and again -1 couple of hrjurs later. .Mile. Boyer has also brought over (Continued on page 56) l-'rank Trumbaucr and Jimmy Dorr sey) backed by 'Feclln' You're r-'oolln' ■ from 'Broadway Melody.' From the same filmunieal, but ''smoolher fo.xtrotology, al.so by the ROBBINS'CHATS Ucrc'N <Iie Honur ynu're hearlBK • tvtrj'where "I've Got a Feeli ' You're Fooli '" anollier .melodic ijmiiHh from "Uroadway Melody of It'H In Kre.'it company, of four.xe, for ' here nrc l'» n),-irvelouH conipitnlohs: '■VOU ABE MY LUCKY STXH" "BROADWAY RHYTHM" ■•CM A SUNDAY AFTERNOON" '.'SING BEFORE BREAKFAST" Don't forget: "I'M IN THE MOOD FOR LOVE" "TENDER IS THE NIGHT" "ROLL ALONG PRAIRIE M03N"