Variety (March 1950)

44 OltCeESTRAS-MCSIC WeSnwday, March 15, 1950“ Rossiter, 83, Chicago, March 14. Two of Chicago’s pioneers in the music publishing and composing business will have celebrated their 50th and 60th years in the business within 10 days of each other; Tomorrow (15) marks the 83d birthday and 60th year in publishing , for “Uncle” Will Rossiter. Egbert : Van Alstyne, composer of . “Memories” and: “In the Shade of the Old Apple Tree,” celebrated his 72d birthday and 50th year in the field on March 5. 'Both are active. Rossiter still has his publishing Arm and is busy plugging his latest compositipn, “You Haven’t Changed.” Van Alstyne, although confined t<rhis bed, is still writing and is awaiting release of the Warner picture, “Pretty Baby,” which features his better-known turtes, including the title song. Both have their individual i£eas on the tunes of today as compared to those of 20 and 30 years ago. Rossiter doesn’t think today’s compositions compare. He points to one 61 the. present hits and makes a wry face. But he Can’t quite pin down the reason for it. -At one point he is definite, though. The older , tunes had the quality of lei-: sureliness and stateliness that are lacking today.: Van Alstyne, on the other hand, says, -‘There are wonderful songs written today.” He points Out, though, that he can use only his Own experience as a guide as to what makes a good song. “I’ve been very fortunate,” he says, “in being able to write songs for com-, nrion individuals whom I know.” He feels’ that a good song niust have some element of universality to it. And some of the songs today, he goes on, have this element of universality. . Modern Plugging But both agree that whatever good music is written today doesn’t last for long. And they agree in attributing this to modern methods of song-plugging and to radio. The average life of a song 30 years ago was four or five years; today it is four or five weeks. “They hammer them to death,” both say. “You can’t eat icecream 10 times a day and continue to like it, no matter how good it is. And it’s the same thing with a song. No matter how good it is, if you keep hearing it, you’re going to get tired of it.” Neither sees any way out of the dilemma. In fact, they feel that with the successful advent of television* it will be accentuated. “An ambitious composer/' Van Alstyne says, “isn’t going to tell his publisher not to plug his tune ” Rossiter points to another development radio has brought about. Radio artists, he says, won’t touch a new tune until somebody else does it, whereas in the vaudeville days a performer would, pay to be the first to introduce it. The paradoxical thing about this situation, he goes on, is the fact that the vaudeville performer had to stand in front of an advertising curtain, which carried ads of stores and restaurants, and try to deliver, the song while the audience sat and read the ads. Today over radio, the audience in the studio applauds on cue. “What in the world,” he wants to know, “are ' they afraid of when the audience is guaranteed to applaud?” Rossiter Started in 1890 Rossiter started in the business in 1890. He had written, hisfirst song, “Sweet Nellie Bawri,”, and had been turned down by publishers. When he decided to publish it himself, he was in business to stay. Other hits came quickly; he published “Some of These Days/' “Darktown Strutters Ball,” ‘‘Meet Me Tonight in Dreamland/’ “The Vamp” and “Turkey in the Straw.” Under the pseudonym of ;W. R. Williams, he wrote a score of hits, including.^ “I’d Love to Live in Loveland With a Girl Like You,” which is still selling. The list of composers who Wrote for him is a “Who’s Who” in modern pop music. One of these was Van Alstyne, who, after realizing that he was hot good enough to be a successful concert pianist, started to write. Rossiter published a march and iome waltzes for Van Alstyne. That was about 1900. In 1903, Van Alstyne wrote his first hit — “Navajo.” Then came “Memories,” 'In the Shade of the Old Apple Tree,” “Pretty Baby,” “Pony Boy” and “Goodra-Bye, John,” “Good-a-Bye, John” was the only tune ever interpolated into a Victor Herbert score. Montgomery and Stone, leads of the “Red Mill,” wanted a song which they could sing to a barrel organ with, a monkey capering round it. Herbert felt that to write such a song was beneath his dignity, arid they called upon Van Alstyne to write it. ' .. Van Alstyne’s 20 Scores Van Alstyne wrote about 20 musical comedy scores, but quit after his greatest success, “The Broken Idol,” which ran for two years iri Chicago. “Top much work, too much worry and anxiety,” he says. He, has written several film scores, and his total of compositions number over . 700. For the past 45 years, Remick Music has been his publisher, ever since his first contract with them was a shake of the hand with Leon Remick. Van Alstyne’s bed, from which he celebrated his birthday, was canopied with strings of telegrams and cards of congratulations, arid he has been named guest of honor at the Chicago Music Festival iri August.. Rossiter has a cabinetfull of recorded radio tributes tohim. Best British Sheet Sellers ( Week ending March 4), London, March 7. Dear Hearts . . .... . • ^Morris Jealous Heart , New World Harry Lime Theme .. . Chappell Down in the Glen . . . . Maurice Bunch of Coconuts Box ’& Coj^ Garden of Weeds , . Box & Cox I’ll String Along. .. . Feldman Hopscotch Polka . > • • Leeds Music, Music . ... . . . , .Leeds Is It True About Dixie , Wood Why Is It V. .Cinephonic Breaking My Heart Sterling Second, 12 Our Love Story. . Carolin Mule Train ... . . , Chappell Where Are You . , . Victoria Scottish Samba . ., •. Sun Forever, and Ever . . F.D. & H. Is It Too Late . ... .... Yale . Song In pur Heart . . 20th-Cerit. • Clear Blue Sky ; ... . Yale Kiss in Your Eyes ; ; Bosworth Someday My Heart . . Chappell Best of All . . . . Connelly Confidentially . New World By HERM SCHOENFELD GETS VI RIGHTS TO ENGLISH DP TUNE Shapiro, Bernstein & Co. last week obtained the American sales rights to “Where Can I Go?” English song about displaced persons in which a number of U. S. publishers had Shown interest. Song, in a minor key, was written by Leo Fuld and Sonny Miller (words) and Sigmund Berlant (music). Fuld has an international reputation as a singer. Shapiro, Bernstein acquired the number via transatlantic phone conversations with John Firmin of B. Feldman & Co., original publishers of the song in England. . A1 Donahue’s 8-\Veeker , A1 Donahue band closes at the Hotel Statler, Washington, D. C., March 18, following an eight-week run. , : Orch goes into the Houston, April 11, ROBBINS ON FOLIO’S COPY ACT Charging unfair competition, J. J. Robbins & Sons, Inc., brought suit in N. Y. supreme court last Week against Ashley Mu'sic Supply Co. The Robbins firm complains that it published a series of books, from 1947 to 1949, called “Music for Milliohs.” These • voluiries, which contain selected copyrighted and public domain songs, were said to have Sold in excess of 70,000 copies prior to the “fraudulent and deceptive” acts of the defendant. N Originally a jobber for Robbins’ series, Ashley . assertedly set up Amsco Music Publishing Co. to publish “Everybody’s Favorite Series/’ an allegedly similar group of albums. In papers filed by Abeles & Bernstein, it’s claimed that, prior to forming Amsco, Ashley had never before engaged in the publishing business. To “palm off” the defendant’s series on the public by imitating the Robbins’ format, the suit charges that Ashley eVen hired the same printing firm; Last fall Ashley was said to have been twice notified to discontinue its “unfair” practices,' but continued to do so. An injunction, accounting and damages sustained by the allegedly unfair competition is asked in the action, Julian T, Abeles, Robbins’ legalite, is scheduled to move for a restraining order in N. Y. supreme court next Monday (20). Frankie Laine “Swamp Girl -“A Kiss " For Tomorrow” (Mercury). “Swamp Girl” has all the earmarks of a standout /hit, It has a dramatic lyric, a driving tempo and a deep-colored vocal job by Laine. Even more so than ‘’Cry of the Wild Goose,” this number is tailormade for Laihe’s flamboyant style, particularly because of its pashy overtones. Disk is effectively backgrounded with Loulie Jean Norman’s eerie soprano arid Harry Geller’s orch. Reverse is a good item with a quasi-Latin beat; / Stan Kenton “Innovations iri Modern Music” (Capitol). This four-disk album won’t diminish Kenton’s rep as a purveyor of daring music that strays way off the beaten commercial track. Yet, despite all the atonal dissonances and other ultra-modernistic flourishes, Kenton retairis a basic syncopated attack that, keeps him within the pop precirits, Jocks with a taste for the unusual will give some of these sides a big-play. A few of these numbers are in the straight pop vein except for soine superimposed fancy instrumental twists. Kenton’s new orch is far better than his former aggregation, giving out with more depth, resonance and, above all, a self-assurance of style. Tipping off the mrir sical approach, disks' are titled “Trajectories,” “Conflict,” “Theme For Sunday,” “Incident In Jazz,” “Lonesome Road,” “Mirage,” "Solitaire” and “Cuban Episode. Latter j both singers wrapping it up with a sense of humor. The Mindy Caraon-Don Cornell pressing for Victor is equally good, according to taste, with the number dished up iri a snappier beat. M-G-M’s Betty Garrett-Larry Parks Version is okay but doesn’t have the personality touch of the other two. Reverse of the Columbia disk is another nice novelty,, but designed for the younger generation. Sammy Kaye ‘‘Wanderin’ ’’-“The Bicycle Song” (Victor). KaVe gives a powerful ride to “Wanderin’,” a moving folk-type, ballad in the manner of “Lucky Old Sun.” Disk is impressively dressed with a Tony Alamo vocal backed with1 choral harmonies. It’s offbeat from Kaye’s normal light rhythms but it hps a solid b.o. impact nonetheless. Bottom deck has more of the usual Kaye flavor/ a deftly exi eeuted pop with a duet by Laura Leslie arid Don Cornell. Lionel Hampton “Sad Feeling”“Hamp’s Gumbo” (DeccaV. Both ’ firstrate jock and juke items for a racey change of pace. “Feeling” is a slow-tempoed number with a solid beat vocalled in blues-shouting stlye by Sonny Parker, a fine jazz singer, who is particularly impressive here. Flipover is in a jumpier style also well-vocalled by Parker, Hamp’s vibraharp solos., are spotted on both sides: Eddie Cantor “Enjoy Yourself “I Love Her” (Victor). Two cute numbers that could catch on. Cantor’s style has been standard for is driven by a powerful drum and , ^ • • •• • ■ voice solo by Carlos Vidal, Vocalist • those many _ years, and ho t Tulip riiristie is SDotted on a cou1 tampering with it in his last couple waxings for Victor. “Eajoy Yourself” is a bright inspirational pie in?nts aDla Kay ‘Savis’ln1 Duke’ll! number with a good lyric and some Son's ‘•Creoyie Love CaT“’ French-accented ho, ^eplay by Can Fran Warren-Tony Martin “Darn It Baby— That’s Love”-“That We Is Me and You” (Victor). This disk falls in line with, the marked upbeat in mixed vocal duets. Miss Warren and Martin join on a couple of cute numbers that should garner heavy jock and juke play. “Baby” has a clover lyric arid a light bounce that easily sells on basis of the duo’s neatly blended styles. It has a better chance than the flipover, which has, however, a pleasant novelty lilt. Background orch is batoned by Henri Rene. Mary MartinArthur Godfrey “Go To Sleep/Go To Sleep, Go To Sleep”-“But Me, I Love You”. (Columbia). A takeoff on an a.k. romance, “Sleep” is slated for the hit lists, It’s a clever number winding on a once-lightly-over risque note that doesn’t hurt. The MartinGodfrey disk is solid in its vocal contrast and well-timed crosstalk 1, MUSIC, MUSIC, MUSIC (7) (Cromwell) . X ' % RAG MOP (7) (Hill & Range) . ......... Week of Mar. 11 » ♦ » ♦ ♦ ♦ ♦ \ Teresa Brewer .. .... . London ‘ ] Eddie Miller. . . . ...... . Rainbow j Ames Bros. ..... . . . ; . . . . , Coral ’ | Ralph Flanagan ^ . . Victor 3. 4. 5. 4. 6. 7. CHATTANOOGIE SHOESHINE BOY (5) (Acuff-Rose) I SAID MY PAJAMAS (8) (Leeds) CRY OF THE WILD GOOSE (2) (American) DEAR HEARTS, GENTLE PEOPLE (13) (Morris) Foley » 4 • • • THERE’S NO TOMORROW (15) Paxton) ENJOY YOURSELF (1) (Morris) DEARIE (1) (Laurel) . . . CRAZY HE CALLS ME (3) (Massey) ; ^ . Second Group I KNEW YOU WERE COMING (Robert); . DREAMER’S HOLIDAY (15) (Shapiro-B) I CAN DREAM CAN’T I (25) (Chappell). FOOLISH HEART (Santly-Joy) OLD MASTER PAINTER (13) (Robbins). C’EI^T SI BON (Leeds) . . ... O'y, ... DADDY’S LITTLE GIRL (Beacon) . [Red ‘ | Bill Darnell Martin-Warren . Frankie Laine . ( Dinah Shore . . .. * IBrnp. Crosby j Tony Martin .Dec ca Coral Victor ... . » . .Mercury : Columbia . . . Decca . . . . Vidor 8. 9. 10, IF ! ■ ' •••• * ’ * “ ] Alan Dale ..... , . .Harmony Guy Lombardo .... . . , . . . . Decca I Merman -Bolger * * ’ ; ) Staff ord:MacRae . . . . . Billie Holiday , , Eileen Barton . . Mercury J Perry Como ... < Victor ‘ ‘ ( E. WilsonJenkins.. . . . , . . .Decca BROKEN DOWN MERRY-GO-ROUND (Vogue) HAVE I TOLD YOU LATELY (Duchess) . . . • • • 4 '4 e • lit Andreios Sisters . . Gordon Jenkins . . .; • i Sinatfa-M odernaires ] Shooky Lanson Johnny . Des mond. , yjjick Todd. . . .; . . . 1 Mills Bros. , . . . . . Whiting-Wakely, . , . CrosbyAndreios * • 4 QUICKSILVER (Morris) yCrOsby-Andrews . . . . . Decca . . .... .. ......... j Pori!i. Dhy" <:v.; ^ , . Columbia ' SITTING BY THE WINDOW (Shapiro-B) BIBBIDI BOBBIDI BOO (Disney) .... . J Dinah Shore . . . j Billy Eckstine . : . \ . Columbia .M-G-M [ Perry Como : ........ ... . Victor ’ “ \ Dinah Shore. . . , . ; . . . . Columbia Johnny Long. . . . . . ; , . . . ,, king Patti Page ... . .... . ... Mercury Sammy Kaye. .. . . . . Victor Ames Bros, . .... v ; . Coral [Figures in parentheses indicate nufnbew oj i peeks song has been in the Top 10.3 HHfUM ♦ ♦ ♦ » ♦ » ♦ ♦ ♦ ♦♦ ♦ ♦ f ♦♦♦ ♦ MMHhMM ♦♦♦ M M ♦ t ♦ I M if r WE’LL BUILD A BUNGALOW (Algonquin) EYES WIDE OPEN I’M DREAMING (Crawford) IT ISN’T FAIR (Words-Music) . . . SENTIMENTAL ME (Knickerbocker) & tor. Reverse is a clap-hands type of bouncy ballad with Cantor having a good time. Three Beaus and a Peep lend a rhythmic choral background. Platter Pointers Approach of the Easter season . is hatchirig another mystifying holiday hit like last Christmas’ “Rudolph the Red-Nosed Reindeer.” Now it’s “Peter Cottontai 1,” which has been waxed by almost a dozen diskeries. It’s another kid’s ■ tune that’s getting a big play on I regular pop labels. Among the best versions (although they’re all very much alike) are Gene Autry’s (Columbia) and Jack Day’s (Coral' Guy Lombardo has at least tried to put a neat dance twist on his Decca pressing. Lombardo lias also Sliced two fine novelties with organist Ethel Smith, “Zing-A ZingA Zing Boom” arid. “Scottish Samba” (Decca) . ; ; The oldie, “Rain.” is coining back with Toni Arden’s ace out for Columbia and Demi Martin’s for Capitol. Larry Fotine’s orch version for Decca arid Frank Petty Trio’s for M-G-M aren’t likely to; get the same play . . Interest in the “Third Man Theme” is generating those “zither dithers” On disks, Irving Fields’ Trio has cut a tricky version for Victor as has Dave Apollon for National. Best arrangement, outside of the original by Anton Karas, is Ray McKinley’s for Victor , . . J e r r y Gray’s cut of “Star Dust” for Decca is a solid jock bet, . . Reports that Dizzy Gillespie has given up on bebop are not backed up by his latest sides for Capitol, “Carambola” and “Horieysuckle^ Rose.” both wild , and woolly . . . Lisa Kirk has a solid juke and jock itefri in “Kiss Me” (Victor) ... .Ditto Margaret Whiting’s “Dream Peddler s Serenade” (Capitol). . Art Mooney has a good; though slightly late, waxing of “Flying Dutchman” and “Cry of the ‘ Wild Goose” for M-G-M ; ; B i l ly Holiday (Decca) cuts a fine side in “Gimme a P.igfoot arid a Bottle of Beer,” a standard, worked over by the late Bessie Smith. ‘ Standout hillbilly, western , race polka, ja^s, etc.: Red Alton. “I Keep So Many Women” (Capitol' . . Jimmy Dickens, “Then I liad to Turn Around arid Get Married (Columbia): . . Buz Butler,: “A A ear of City. Living” (Decca) . . Dclmoie Bros., “Sand Mountain Blues , , (King). Alvino Rey, “A Snow .Decca 4 I White H o r s e” (Capitol) . . Mae Williams, “Don’t Take Your Love From Me” (Crystalette) Brother John Sellers/ “When the Rolls Is Called Up Yonder” (Decca) • Pee Wee Hunt, “Royal, Garden Blues” (Capitol) , . “Fat Man” Robinson Quintet, “Gimme a Pound O’ Ground Round” (Decca l Decca Capitol Decca . . ; pecca ; Decca Columbia . . London .• M-G-M Rainbow . Decca Fiske Join* MCA Former bandleader Charlie Fiske has joined the band dept, of Music Corp. of America N. Y. office. He’ll work with Johnny Dugan In handling bands for theatres.