Variety (September 1950)

ORCHESTRAS-MUSIC RALPH FLANAGAN ORCH (15) With Hope Zee, Harry Prime Hotel Statler, N.Y. Ralph Flanagan’s orch is current- ly paying, off on a big part of the bright hopes that attended its; for- mation a little more than six months ago. If it has failed to engineer the revival of the dance band business, as projected by the heavy RCA Victor promotion cen- tering around Flanagan, this band^ can’t be criticized for not trying. It now looks as if that- ballyhoo overreached the potentiality of any' band in this era. More to the 1 point, however, Flanagan’s orch has succeeded ih becoming one of the standout mvisicrews around. Still working in the general pattern of the late Glenn Miller band, which seems to have hyp- notized, the new crop of commercial ^ bands, Flanagan is now operating on a longer leash from the master’s influence. Without indulging in. the experimental, the band is play- ing with a facility and independ- ence that mark the development of a personal style, ^hat style is becoming increasingly evident with the outfit’s progressive integration of its sidemen. With good effect, Flanagan has become adept at mixing up the reeds-on-top style with sharp and niore colorful brass orchestration. For the ballads, the five-man reed section, with its pair of clarinets, is placed in the foreground for the clean. melodic line, • Flanagan is giving almost equal accent to rhythm numbers in which the sevemman brass, section, although often muted, supplies a contrast- ing drive, A firm three-man rhythm section underlies all the arrangements to supply that smooth tempo absolutely necessary for apy dance band. Flanagan has also broken down the band into a couple of smaller combos for a Variety and flexibili- ty of nUmbers. Hitching on to the Dixie kick, he has set up a unit, comprising piano, drums, bass, tenor sax, trombone and trumpet, that, can beat out the standards on the solid .two-beat. Flanagan is also using a rhythm trio, with his y. piano at the center, for the chile numbers, and it’s here that Fla- nagan’s keyboard style is show- cased to best advantage. The band- leader also gets colorful effects with one-finger piano solos on Occasion against full-band orches- trations. Flanagan’s: library cuts across the full range of standards, pops, Latin-American numbers and old and new jump items. Hope Zee, recently added as femme vocalist, has a good style mostly used for rhythm numbers like “Chattanoogie Shoe Shine Boy.’’ Low mike level on opening night (11) sometimes made her projection unequal to the band; Harry Prime continues to do a solid job in his ballad vocalizing. Herm. WOODY HERMAN ORCH (15) With Pat Easton ■ , Meadowbrook, Cedar Grove, N. J* A striking example of the pre- dicament facing some of the ^wing band veterans is afforded by the Woody Herman orchestra, which is currently playing a two-week stand at Frank Dailey’s Meadow- brook. Having first found that tlye public had bypassed jump music, Herman turned to the “progress siveV style; only to find that was a momentary fad. Now, he’s at- tempted to commercialize his band somewhat, but a reluctance to part from his old stylings makes the attempt a half-hearted one at best. Realizing that he has to play for dancing, Herman has developed a book which includes most of the current pop faves. But his ar- rangements and musicians • are more attuned to the jump style than the commercial, and as a dance band the group falls short Of the mark. Tempos are not entirely suit-- able for dancing. Arrangements are excellent for listening, but; not for terping. And the sidemen, Who, incidentally, are one of the youngest crews on the road; are good on jump numbers but er- ratic on: commercial tunes. Instrumentation br e a k s down into three rhythm, four saxes, four trumpets and three trom- bones, with Herman alternating between: alto sax. arid clarinet. Rhythm and saxes are well-drilled and steady, but trombones are Weak and trumpets erratic. Brass is strong on the rhythm numbers, but. on slower tunes the trumpets can’t seem to get together,, espe- cially when using mutes. Herman, of course, remains one of the top. swing clarinetists, and his sax arid clarinet work on pops is good. But as a whole the band needs a lot more. work arid a com- plete reshuffling of its books. Band should cut down on the number of jump tunes, and should get more commercial-type arrangements of its pops, Vocals are handled by Herman and Rat Easton. Herman is excel- lent ori both rhythm and ballads. Miss Easton, who sang with Gor- don Jenkins sortie time ago, gives a fresh appearance and delivers okay renditions of the pops. Band does a show which features some of the Old Herman recordings and backs Rosemary Clooney in her rtitery debut (New Acts), Visu- ally, it’s‘ an excellent aggregation. As a theatre band, it’s okay in its present, form, blit drastic changes are needed for it to compete as, a dance band’ , Biz on night caught (8) was ex- cellent, It was the first night the house was Open to the public since it shuttered at the begin- ning of the summer, Band opened the night before to a private party. Chari. Wednesday, Septeml>er 13, LORRY RAINE "STRANGERS”—(London Records) Lorry's echo-haunted /'Strangers;’ is No. 1: selling record on London. Newest release coming, up on London by Lorry is ''Harbor- Lights” ^-“Music,. Maestro, Please.’' Hers were. the. first revival sides on both tunes. TIM GAYLES. .Publicity—■Song and Record Exploitation-—Management Shelton Hotel, New York 17, N. Y. .By HERM SCHOENFELD. Abstract-Design Pix As Advance Plugs Hollywood, Sept. 12. Series of abstract-design films is being mulled by Stan Kenton for television arid theatre trailers to plug his next three-month cross- country tour which tees off Jan. 15, Batdneer is huddling with John Whitney, abstract-design film pro^ ducer, about the possibility of syn- chronizing a series of non-subjec- tive designs to one of Kenton’s musical arrangements. Plan is to make several three- minute trailers which could be of- fered to video stations and a one- reeler to be offered gratis to the- atres in towns which do not have television. Number of stumbling .blocks remain to be worked out, but Kenton hopes to distribute the pix in advance of his playdates. Since none of these pix Would be in the nature of a commercial plug for the concert, it is hoped the gratis offer will be snapped up by program hungry video outlets. Kenton aisp considered a plan to screen some of these expressionis- tic films at the concerts, synced; to the actual playing of. the band, but has decided against it on the theory that his audience wants to hear music and not .watch film. Doris Day: *'Orarige Colored Sky”-“A Load Of Hay” (Colum- bia). ‘'Sky,” a standout tune, gets a firstrate treatment by Miss Day, backed by the Page Cavanaugh trio, On basis of this cut. plus the King Cple-Stan Kenton version for Capitol, number should rocket to top of the hit lists. Flipover has a pleasant lyric, based on a famil- iar melody and rendered brightly by Miss Day. Ella Fitzgerald-Louis Armstrong: “Can Anyone .Explain”-*‘Dream A Little Dream of Mb” (Decca). One of the best cuts of ‘-Explain” is dished up here, with Miss Fitz- gerald pairing with Satchmp and both vocalling in good form. Side could have; been better if the mid- way comedy talk had been omitted. Standard on the reverse has a superlatively duetted passage that should rate plenty of jock and juke spins. Armstrong's sharp trumpet is up front of Sy Oliver’s orch. Hugo Winterhalter Orch: , “Mi\ Touchdown, U.S.A.”-“The Red We Want Is The Red We’ve Got” (Vic- tor.) “Touchdown” is a new pop peg- ged to the fall football season and stirs memories of .such numbers as “Betty Co-Ed” and other tunes of the raccoon and hip-flask era; Winterhalter gives it a rousing try in attractively snappy tempo. Bot- tom deck in a similar-tempoed in- terpretation of the patriotic song. Orch and chorus blend vigorously ori both sides. Jack Pleis Orch: “Time Alone Can Heal A Broken Heart”-“What Is There To Say’’ (London). "Time Alone” is a worthwhile ballad, with some intriguing musical fig- ures that set it apart from the usual run of pops, Pleis orch and chorus handle it competently al- though a solo treatment might have more commercial possibil- ities, On the reverse, Pleis gives the standard a warm, listenable in- terpretation. Bill Snyder Orch: “My Silent Love”-“Choppin’ Up Chopin” (Tower). Having clicked with his one-fingered keyboard revival of “Bewitched,” Snyder is now giving “My Silent Love” the same kind of treatment. Both numbers are equally good but whether the mar- ket will absorb this followup is a question. Jocks, however, will find it solid program fare. Flipover has some okay syncopation of a longhair theme. Guy Lombardo Orch: “The Petite Waltz” - “Harbor Lights” (Decca). Lots of wax has been put on “Waltz,” a three-quarter time instrumental, but this cut by Lom- bardo could be the one to push it over. It’s a colorful side abetted by some attractive zither-like sounds and the twin pianos, It stands up under repeated spins. Lombardo’s version of “Lights,” now getting a revival, is also tops, Kenny Gardner, neatly handling the vocal. Jain Garber Orch: “Daddy’s | Little Boy”-“Longing” (Capitol). Garber gives a good Lombardo- like slice of “Daddy’s Little Boy” but this tune is faulted by too great a similarity with “Daddy’s Little- Girl.” Roy Ross orch also gives an okay version of the same tune for Coral; Garber’s cut of “Longing” is pleasing. Tommy Dorsey Orch: “Opus Two”-“T. D.’s Boogie Woogie;” “So Long Sally’V'You're Not In My Arms Tonight” (Decca)’ Dorsey’s initial sides under the Decca bam ner contain some solid swiiig standards from t he bandleader’s library, “Opus Two” and “Boogie Woogie,” both instrumentals, have a hard-driving beat under the cleanly orchestrated sounds. Other two sides are in a sweeter vein with Johnny Amarosa handling the vocals Competently. All good jock and juke sides. Jan August: “Where Do I Go From You”-“Deep Night- Billy Eckstine-George Shearing Quintet package, which begins a tour of 37 one-nighters Friday (15), will go into Carnegie Hall, N. Y., for one performance Oct. 11. Tour tees off at Shrine Audi- torium, L.A., and ends at Sym- phony Hall, Boston, Oct. 22. Feather Gen’l Mgr. Of Mercer Records Leonard Feather, jazz critic and composer, has been named general manager of Mercer Records, new label recently launched by Mercer Ellington,. Duke Ellirigton’s son. Feather will also be manager of Tempo Music, Duke Ellington’s publishing company. Feather, recently returned to ac- tivity after being seriously injured in an auto accident nine months ago, is also working with Ellington on radio-TV show scripts. ♦ ♦ ♦ ♦ ♦ f ♦ 4 » ♦ > 1. GOODNIGHT IRENE (6) (Spencer).. ........ 2. MONA LISA (10) (Paramount) .,.,.................,...,... $ 3. SAM’S SONG (8) (Sam Weiss) ..................,. 4. TZENA, TZENA, TZENA (9) (Cromwell) 5. SIMPLE MELODY (5) (Berlin) ....... ., 6. LA VIE EN ROSE (3) (Harms) .... . , .........■ 7. I WANNA BE LOVED (16) (Supreme) 8. CAN. ANYONE’: EXPLAIN (2) (Valando) 9. BONAPARTE’S RETREAT (8) (Acuff-Rose) 10. ALL MY LOVE (1) (Mills) • » V f ••••••• • Second Group Week of Sept. 9 l Jenkins-Weavers .....,. ..;. Decca ) Frank Sinatra ........ Columbia \ King Cole Trio ..........Capitol \ Victor Y. mug ....,, Decca \ Bing & Gary Crosby ...'.. . Decca l Joe “ Fingers ” Carr.... Capitol [J enkins-Weavers .Decca I Mitch 'Miller .....,. ... .Columbia Bing & Gary Crosby ..... . Decca Tony Martin .:.... ^..... .Victor | Andrews Sis-Jenkins ...... .Decca } Billy . Eckstine ,... ....,.,. M-G-M Arnes Bros. ;.......... Qoral Kay Starr ............ Capitol Patti Page .., >.... Vv-.. .Mercury 7 Powell on Columbus Stay Teddy Powell orch has been set for three weeks at the Deshler- Wallick hotel, Columbus, O., start- “ * ing Sept, 25. Unit closes at the Roosevelt Grill, New York, Sept. 23. Band, which went into the Roose- velt on a six-week date with options, will have played 12 weeks, longest stay for any summer replacement band in the room’s history. I Connie Haines, among the first singers to record for Coral when it was formed two years ago, has been s i g n e d to a new longterm contract. Fran Warren .... ..... .. Victor 7 , Hugo Winterhalter ■,..., Victor . + rii j fry Ty • : • *’ ^ I LOVE THE GUY (Sliapiro-B) .. ... ' .COUNT EVERY STAR (Paxton) / . .V.\ .......... ; J I’LL NEVER BE FREE (Valando) . . ■••••• * • • • * • • . Stdrr-Terinessee Ernie .,. Capitol DREAM'A LITTLE DREAM (Words & Music) /Frankie Lalm .;. . . Mercury J MUSIC MAESTRO PLEASE (Bourne) .... [ t ranki L L “ ine /- • Mercury IIOOP-DEE-DOO (16) (Morris) .,, . .................. } Zl/'iS/™ 0 4 '• • • • • • J' ic *° r , \ Kuy Starr . .Capitol SENTIMENTAL ME (15) (Knickerbocker) | Arnes Bros. , ........Corat I Russ Morgan . . Decca ., I I DIDN’T SLIP. I WASN’T PUSHED, I FELL (Rcmick) Doris Day. .Columbia ” BEWITCHED (17) (Chappell) |-a• •■• • • • Decca | ■ . v \ ( Bin Snyder ... i....... Tower HARBOR LIGHTS (Chappell) .... V1 ,,,.. Sammy: Kaye ....... ..Columbia CINCINNATI DANCING PIG (Old Hickory) Red Foley...,...., ......Decca VAGABOND SHOES (Jefferson) Vic Damont , .Mercury ' I CROSS MY FINGERS (United) .,...............,, Perry Como\ . ..**........Victor NOLA (Sam Fox)- v.. .-.........«..... Les Paul ••»»•••».....,Capitol JUST SAY I LOVE HER (ABC) .. Johnny Desmond.. ...... JVf -G*M•. I Figures ih parentheses indicate number of weeks song has been In the Top 10J *+♦+♦♦♦♦♦♦♦♦♦♦♦»»♦♦ ♦ ♦ »> ♦♦♦»»»♦♦♦ > » f♦♦ ♦ + f ♦♦ f ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 4 4♦4 cury). “From You,” a fine tune stirring increasing attention, gets an interesting arrangement on this side with Jan August’s fine key- board work in the foreground to- gether with the good, but less in- teresting vocal by Henri Pierre. Reverse is an excellent, version of the standard with a choral group and OPierre handling the vocal and August maintaining his, usual standards. Harry Geller’s orch furnishes a fine framework. Snooky Lanson: “You Wonder- ful You”-“Honestly, I Love You” (London). Lanson continues to register on straight pop tunes. “Wonderful,” from the Metro pic, “Summer Stock,” is simply and effectively crooned. “Honestly” also gets another strong side with Lanson backed up by Jack Pleis orch and chorus. Don Cornell: “Au Revoir Again”-”A Whistle and A Prayer” (Victor), “Au Revoir,’’ recently launched again after fading three years ago, gets another fine cut by Cornell although riot quite as effective as Mitch’ Miller’s orch and choral version for Columbia. Cornell's style is more , comfort- able on “Prayer,” a bouncy item with an uplift lyric. Bob Dewey's orch, formed under the Victor aegis with Dewey Bergman baton- ing, supplies excellent back- grounds with re.eds-on-top orches- trations.. Platter Pointers In conjunction with the Colum- bia promotion centering around Andre Kostelanetz’s 10th year with the company, diskery has issued a. 12-inch long-playing disk featuring the maestro playing Irving Berlin tunes. It’s a big slice of ijer- liniana, comprising 19 of the com- posers’ most memorable hits and served up with Kostelanetz’s bril- liant arrangements . . . RCA Vic- tor has packaged a fine three-disk set in which Perry Como sings a brace of religious songs . . , Three Suns also have a good Victor al- bum of hymns . . . Red Norvo trio has a solid instrumental of “Night and Day” for Discovery . . . Terry Shand orch has a good side in “I Wouldn’t Touch You With a Ten Foot Pole” (King) . ; . Ken Griffin delivers an okay organ solo on “Stardust” (Rondo) ... Curt Mas- sey's version of “Frosty the Snow- man ' rates. attention in the juve market (London) . . . On the same label, . Charlie Spivak delivers nicely on “Three Little Words” . Dinah Washington has a fine disk ip “Why Don't You Think Things Over” and “How Deep Is the Ocean” (Meycury) . ., . Ralph Flanagan has made a solid cut of his theme song, “Singing Winds” for Victor . . . The Mariners have interesting sides in “Minnequa” and “Beyond the Reef” (Columbia) . . . Leskc. Lanin orch registers brightly on “The Cake Walk’:' (Coral) . Danny Kaye has some cute juve items in “Tubby the Tuba Song” and “Popp the Pup- pet” (Decca) . . . On the same label, Ethel Smith at the organ and the Bando Carioca give a solid rendi- tion of the bolero, “Catana.” Standout folk, western, jazz, re- ligious, polka, etc : Jake Vaughan, “Why, Oh Why, Oh Why” (Decca) .... Roy Byrd, “Her Miind Is Gone” (Mercuriy) . . . Ozie Waters, “If Memories ‘Were Money 0 (Coral)