Variety (June 1922)

ly, June 23, 1922 VARIETY 21 REVIEWS OF RECORDING DISCS {Variety deportment of critical revievtt of the current phonograph records) comes of its own accord. Dal ha tenor docs justice to the ballad. On the reverse, the trio harmon- ises the "mother' song soothingly and with sincerity. POPULAR CALIFORNIA (Fox Trot)—Club Royal Orchestra. WHO BELIEVED IN YOU? (Fox ^T^—AII-Star Trio and Or- chsstra—Victor No. 18OT0. The Club Royal bunch, directed hv Clyde Doerr (one of Paul White- man's orchestras), delivers the nooular ••California" on. the June Victor disks. Docrr himself leading with his saxo gyrations. The selec- tion starts with a "choo-choo" train effect and breeses Into the melodi- ous number in handsome style. The "Who" song is a splendid Illustration how one man can make a, Bong. Anatol Friedtand built a vaudeville production around 'Who Believed in Your* and plugged it for all it was worth, at the same time submitting regular printed copies to all the music publishers inviting offers. He rejected all offers until Harms made him a proposition which really put the song across. Meantime, on his own hook, Friedland sold and exploited the song in sections where his act played and skimmed the cream of the trade for his own benefit. It is one of those wistfully pathetic sob tunes that intrigues on first hear- ing. There's a wealth of enchant- ing harmony in the composition, so much so in fact that its popular singing is prohibitive because of the extreme range, although as a dance it's popular everywhere. jaix wonder must have outdone himself. Resides, it is his own com- position. At any rate, this reviewer waited impatiently for its release, and needless to state, it did not disappoint. It is a dulcet, serenad- ing, soothing sort of syncopated fox trot that grows on one from the start. It has a snappy Spanish motif in the accompaniment that intrigues. "By the Sapphire Sea" (Ted Snyder), a sequel to "The Sheik." is another number that does not tire with repetition, always dis- closing something new in tone ef- fect or orchestration with each per- formance. Ah a waltx and a fox trot either arrangement has proven popular with the dancers. (Fox I WONDER BLUES — Bailey's Lucky Seven and "Chalk" Smith (Song and Danes). PICK ME UP AND LAV ME DOWN — Sams — Gannett No. 4866. A two-in-one difc. "Chalk" Smith sings the choruses of both songs and Bailey's Lucky Seven supplies the dance end. It serves a dual purpose with great effective- ness. SUNFLOWER DANCE—Margaret McKee—(Whistler). SONG BIRD — Same—Brunswick No. 2255, For some struige reason the two foremost phonograph whistlers are women. Margaret McKeo and Sybil Sanderson Fagan. One would ex- pect a man to be proficient in that. Miss McKee has produced a novelty disk further enhanced by the beauti- ful orchestral accompaniment. The "Sunflower" iMacClymont) selection is a standard but "Sons: Bird" i Kva Applerteld-Margaret McKee) is a published number co- authored by the artiste—with an- other woman. Looks like suffragist propaganda YOU? Dance OLD-FASHIONED GIRL Trot)— Lanin's Orchestra DLUEBIRD, WHERE ARE (Fox Trot)—Broadway Orchestra—Edison No. 60954. "Old-Fashioned Girl" (Al Jolson) is a straight fox trot as played by Lanin's Roseland bunch. The "Bluebird" number (Clarke- Maslof) is a melody dance number that is reminiscent In construction of "Just a Little Love Song." In fact, it resembles it in a bar or two. but not sulflcient to be termed a plagiarism. ■saaaaaattassas TIME AFTER TIME—George Wil- ton Ballard. ANGEL CHILD—Same — Gennett No. 4839. Ballard is a newcomer to the disks, but should develop into a standard light ballad soloist. He has a lusty tenor that is well adapt- ed to light selections like "Time After Time" and the still lighter "Angel Child." "Time After Time" is a product of that veteran writing team, J. Keirn Brennan and Ernest R. Ball. They'll be buying this and Ball's previous hit o( a~ couple of months back, "I'll Forget You," with "Till the Sands of the Desert Grow Cold," "Good-bye. Good Luck, God Bless You," et aL, 10 years from now, where "Angel Child" will be a hazy memory. Both are published by the same firm (Witmarks), and they will admit it as well. Ball's product has a certain some- thing that takes a couple of weeks longer to implant and anchor in popular memorv, but once anchored it is permanent, whereas the light stuff flits on and away after a brief existence. JIMMY (Fox Trot)—Nathan Glantz and Orchestra. VENETIAN LOVE BOAT—Same— Okeh No. 4553. "Jimmy" still is a popular ball- room fox trot. A. Trebla and C. Capie are the composers, the "A. Trebka" being Al Jockers. the or- chestra leader. ("Trebla" is Albert spelled backwards.) That and "Venetian Love Boat," a Chicago product (Frank Marine- Ted Koehler) are both popular dances of the popular melody type, but it is doubtful if a prospective purchaser would know their names to purchase the sheet musi". CANARY ISLE—(Fox Trot)—Ray Milter and Band. GEORGIA — Same — Gennett No. 4859. After maktner test records for Columbia. Hay Miller also did some recording for the other companies iuntil the Columbia people decided he was big enough for an exeius.w feature. This disk is marketed by Genheft. "Canary Isle" is a melody fox trot as is "Georgia." both ex- cellent for dance purposes. How- ever. Miller shows nothing unique or extraordinary in this disk by way of orchestration or arraignment. He plays the songs as they are written, but that suffices for the purpose anxos m the for-* faction carry the m- I ly, contrasting dashingly witn the e* rfa iom-:omm.ng effect. 'I'm Wild Abou; Harry' tSisslc- Blake) Is mother dance pe:n from that f« rti!e musical all-colored show. 'Shuffle Along," that has gleaned a harvest for the authj^s <md publishers of "Love WW Find a Way.- "Baltimore Busx," "Ban- d.inr.a Days'* and "Gypsy Blues." Paul Whiteman one day arranged the •Harry'" song for bis orchestra, and it surprised even him as a popular dance number. The soprano sax is featured practica*Iy all the way through in the selection, Kreuger handing the instrument him«*-lf. Funny thing about Krue- ger. If memory serves right, he played some instrument other than the saxophone (was It the violin?) a couple of years back. The man- ner in which he has mastered the toned wind instrument him. AbeL UNION MERGER May Come Up at Cincinnati of Week End dtrfeet credits • 1* -»»-#■** C**V it,Wk. AFTER THE RAIN (Fox Trot)— Don Parker and Orchestra. THE LITTLE TIN SOLDIER (Fox Trot)—Ernest Hussar's Clar- idgo Orchestra — Path* No. 20718. Besides saxophoning in one of Whiteman's orchestras Parker has his own combination as well as a special trio. The orchestrations of this bunch hints much of the White- man schooling* in arrangement. It switches from instrument to instru- ment, permitting the piano and xylo to bang forth forte, after which Parker himself comes to the fore on the soprano sax. It's a good dance record. On the reverse Hussar has in- jected a commanding swing into "The Little Tin Soldier (or the Little Rag Doll")—to use the full title—from the ill-fated English re- vue, "Pins and Netdles." (It Is an American interpolation and proved the best in the show.) Hussar doe* much with it. Here is an orchestra that should be carefully Watched. It may be that internal politics figure in this instance with the larger companies where one wil! hud one man practically control* and directs every dance recording combination under one or another name. That may be why Hussar must content himself with the minor companies. ROLL ON, SILVERY MOON— Ernest Hare (Vocal). THERE'S A DOWN IN DIXIE FEELING —Same—Paths No. 20693. Ernest Hare, that disk veteran, has delivered two sprightly vocal solos well suited for his baritone. "Roll On Silvery Moon" (Fred Fisher) has a few yodellng interpol- ations not written by the composer which Hare does tricks with. The "Dixie" song, the work of Ray Perkins who is unique for his novelty popular song compositions, is a swinging, catchy thing that makes one believe the singer is really sincere about his "Down in Dixie feeling ha/iging around." OLD TIME MEDLEY—(Parts 1 and 2)_SHANNON FOUR—(Vocal) —Pal he. This ma'.e quartet, one of the .- : s: a: !•<•. known to disk pur- chasers, has arranged a number of old lime son^s in an interesting medley Tfcey include "On the Banks of \r.e Wabash." "Mandy Lee.'" "In the fc-venicg by the Moon- light." S^eet F.osie O'Grady," 'Annie Rooney." etc. The Pathe recording n*.anager has wisely eschewed the follow master" thing as some of the other companies have done. When Victor a couple months back issued a waits arrangement of old time songs, the others followed suit on exaciiy the same order. Here there is some variation by issuing a medley (there really seems to be a decided demand for such) vocally. STANDARD JUST THAT ONE HOUR—Theo Karfa (Vocal). IF YOU WOULD LOVE ME—Same — Brunswick No. 5134. Theo Karle Is the John Steel of the Brunswick company. Just like Steel handles all the "passionate" love songs for Victor. Karle is strongly addicted ;o better class amorous ballads. He does them surpr.singly well. too. His tenor baa a strength nad vigor that con- trasts to Steel's ingratiating soft- ness. It may toot make for aa line tone shading, but it has force that is unique. Both selections are of a similar order, sincere and Im- passioned. GYPSY SERENADE—Vasa Pri- hoda (Instrumental 1 . SPANISH DANCE—Same— Edieon No. 82255. Prihoda displays himself a master of the bow with these two violin solos. The Gypsy number is a throbbing little thing, suggestive in theme of its title. The "Spanish Dance" is even more sprightly and colorful. Prlhodas technlc Is finished, his pizzicato fingering showing it off iflashily. Otto Btsen accompanies at the pianoforte Intelligently. HATE TO GO HOME — Dorothy Jardon — POOR LITTLE ME (Fox Trout)— Bailey's Lucky Seven. DONT LEAVE ME MAMMY— Same—Gennett No. 4857. Tho "Lucky Seven" certainly can throw a perpetual "natural" when it cornea to dishing up blues and rags to stir sluggish feet. Jazz— Just jazz! That's then- first, last and middle name and while it may not sound very melodious, it's Ir- resistible for moving the hoofs. YOU CAN HAVE EVERY LIGHT ON BROADWAY—(Fox Trot) —International Novelty Or- chestra. LOVEY DOVE—(Fox Trot)—Club Royal Orchestra—Victor No. 18839. The International aggregation is a new combination to the Victor disks and Judging from "Broadway" (Simons) selection, a welcome one. Seymour Simons, the composer, is a western boy who came to the fore when Nora Bayea engaged him. and Al Weeks of a Detroit daily, to compose and author her "Family Tree" production. Simons has a popular swing in his tunes that should do much for him right along although he was fortunate to have nn experienced lyricist like Benny Davis for a writing mate. "Lovey Dove" by Sigmtind Rom- berg is from Leo Falls "Rose of Stamboul" which Romberg Jassed up metamorphosizing an orthodox oper- etta into a hybrid musical comedy- burlesque-extravaganza. "Lovey Dove" is the plugged song of the hhow and its ftinny little rhythm, re- peated aver and over, makes it «t;» n<l out in contrast to the modulated Fall contribution to the score. The Club Royal orchestra puts snap and zest Into the fox trot. (Fox Trot) — Orchestra. SEA- ^45. ijfxmi to .New l-f 'upl th« ON THE ALAMO Isham Jones and BY THE SAPPHIRE Brunswick No. Z •when isham Jones came York a couple of monthtf "tan" on the Alamo" the mg laboratory stafT m - • <i iboul JUtml <•:•, its quality, teehrii ;il i • faction, arrang e m e nt, et<\, which In ■tself is unusual. It is egpectcl froiTi the recprdliiT artit< in gen fcral. l< c alone on artist like Junes *"') ts Prunswlrit's prim** dam wd, that they make Intelligent recr-rd^j, However, the Chi-age LITTLE GREY SWEETHEART— Crescent Trio— (Vocal). TIME AFTER TIME—Vernon Dal- hart— (Vccnl) — Pathe No. 20716. Another corking "canned" vaude- ville disk <>n tho,current Pathe re- i,........... "Time After Time" by that ..,,,- i ongw rltlng eombin itlon, lirennnn nnd Ball, hi one of th<- out- • handing ballad hit*, currently. That nnd Jnck Rrenmtns current ".Ml i >■., r Nothing al AH" otighl to moan ■--,. ;, lilt!.' ir '-«.Tn*' tor the V , | house considering ti.«' summer lark. After all It's the sentimental ongi the boy* and girls 'round the par.lor piano ling mm! Its the Ml • music sales .an<l not the record and roll royalties Hint really make •» i> GEE BUT I ALONE (Vocal). WAKE UP LITTLE GIRL YOU'RE JUST DREAMING — Same — Brunswick No. 6140. One would expect a Dorothy Jardon to confine her phonograph work to so-called hirh class and operatic numbers. Miss Jardon is pleasantly fooling us. She is wisely selecting her repertoire from the publishers' popular and musical comedy catalogs. Last month in "Stealing" and "Remember the Rose" she produced a big seller and this present couplet looks like an- other winner. "Gee But I Hate to Go Home Alone" is evidently a follow-up on "All By Myself" in idea. There is a note of sincerity in the plaintive lyric that compels and the half-chorus interpolation by the man's voice who recites in the third person adds to the general idea of sweet sadness. "Wake Up Little Girl You're Just Dreaming (Pretty Dreams)" by that veteran Quakertown songwriter team, Lou Herseher and Joe Burke, looks like a summer hit. it Is still in the making. However, it is strictly a mate song and one wonders why a man was not as- signed to record it. EVERY DAY (Medley Fox Trot) — Joseph C. Smith and Orchestra. ROSE OF STAMBOUL (Waltz) — Same—Victor No. 18885. The "Every Dav" selection Is medleyed with "Oh Gee! Oh Gosh!" from the now departed musical comedy, "For Goodness Sike." Wil- liam Daly is the composer. The compositions have that musical comedy warmth and mellowness that is denied a pop song, which flares up and dies in a brief space of time. Joe Smith has done some- thing odd with the fox trot. It progresses as such evenly and decorously for fully three-quarters of the way. and then the rhythm is doubled, transforming the fox trot into a <<n«'-st«'p The 'Rose of Stamboul" walta medley li beautiful. That an.l "My H art is Calling" are the outstand- ing \va!": QOngfl ef the 7.eo Fall operetta, "Hose <>f stamboul." which closed at th«> Century. N.-w York, this month, Sigmund Romberg's contribution to the score of which "I,ov«y |i..ve" U thp hit ar.d th h.t i.f lAe show as well, is rt'vi'wcd elsewhere in '•.■ •• column*; Cincinnati. Jur.e 21. Action on the move to transfer the Jurisdiction over vaudeville now hold by the American Artists Feder- ation of 1-abor Convention, in new- sum here. The convention is dua to close Friday. According to a report artier^ labor men it is understood opposition has developed against ihe proposed as- suming of Jurisdiction over vaude- ville by the A. K. A . the chief ob- jections arising from a legitimate element in the Equity, that believes 1 vaudeville is a separate institution. and the A. K. A. should stick to its knitting. The legitimate element mentioned is credited with a strong effort. looking to tha side tracking: of the plan, that would give tho Equity union control of the entire show business, the vaudeville Jur- isdiction also carrying With it Jur- isdiction over burlesque. The report that the contemplated move to bring the A. A. F under Equity's control also Includes the creating of jobs for Mount ford and Fitzpatrick. the A. A, F. chiefs, is said to have been one of several reasons why an element in the Equity opposes it. American Federation of Labor conventions will hereafter be held in October, the extreme heat having decided the delegates to change tho custom of years standing of having conventions in July. IN A CLOCK STORE—Miniature Concert Orchestra. WARBLER'S SERENADE—Seme —Brunswick No. 20003. This is an excellent concert disk that should convert those inveterate jaas hounds to whom "concert" spells anathema. It -has a certain sprigh times*, particularly In the "Warbler's Serenade" (Terry), that is irresistible. The flute does the warbling, somehow reminding of a love-strirken Alpine wooer who has traded his native Swiss yodel for warbling. "In a Clock Store" (Orth) is a descriptive fantasie. the tick-tock- ing ofthe clocks and the coo-cooing of the mechanical bird piercing the somnolent progress of the soothing composition^ INDIANA LULLABY—Olive Kline and Elste Baker (Vocal). MARCHETA —Same —Victor No. 46309. "Marcheta" (Victor L,. Schert- zinger) is the distinctive selection of thi*» disk. It is a love song of old Mexico of considerable color and beauty and a relief from the cut and dried, similar patterned songs. It Is further distinguished in that Schertainger. a 01m director pri- marily, is its composer. That seems to be reversing thinsrs by the way. Carl Laemmle and the Kremers went from the music business to pictures (as are a number of song- writers at this writing), but Schert- linger still rinds time to dash off a film score or a ballad. And It's a good one. too. John Steel did it in vaudeville. If he hadn't, he should. Why wasn't it assigned to Steel in the tirst place? It's a male version song. However, Olive Kline and Elsie Baker duet it splendidly. In sheet music form the song is proving a big seller. On the reverse the same duet render "Indiana Laillaby"'—the title speaks for itself—in their useal finished fashion. •Oflt 1'u* tn '' publisher. The rest STUMBLING (Fox Trot)—Benn.e Kmeicr'j Orchestra. I'M WILD ABOUT HARRY—Sam- — Brunswick Nc. 2272. "r--* itmh1 • • ' i- - ' he oUI (it Mdlns • immi r dance* hit. I ; • miliar choppy i . n brought it ?< • I .. y oVi P night Kruef ■ r i. »^ d©n< some of lis I recording work with thu ion ii.. :.ui .i snappy "hiccoughy" eflVet Into th«' bn*s j-ax-> tl.it v.:nr:»--r. The soprano anl alto SHOW ME THE WAY TO YOUR HEART—Lewis James (Vocal). THERE ARE TEARS IN YOUR DEAR, DEAR EYES—Helen Clark (Vocal) — Edison No. 50894. Two better class love songs, the first of the "passionate" schoot. James tenors It with due feeling, the orchestral accompaniment fur- ther ben ring out the spirit of the theme. The "tears" song is ren- dered by HeWn Clark, contralto, also erehostra^ acrninpann •!. The fullness and beauty of the artists' voices art- brought out to their utmost through the perfect Edleon Ke-f'rc'i.rion labonatory proce Abel BENNY PIERM0NT ALONE ]'.' "'V Plermont has left the office of Arthur llorwiti nnd afti r a vaca- tion Will actively ent^r th^ artists representative Field, H<> was /riven a franchise for Ihe Loew bi*>' office some weeks ago. Harry Bhafter returned to tin- Horwlti agrney this werk. JACK ELLIOTT AT COLONIAL Jack Elliott will manage Keith's Colonial, New York, when the nnuse reopen* next September. Klllott resigned from the aaanagement of the Hippodrome, Youngstown, sev- eral month* ago and has been doing confidential work for the Keith office since leaving. He wee the Hippodrome manager for the peat •even years. Previously. Elliott s theatrical ex- periences included nine years with the Cohan and Harris enterprises and fonr years st Madison Square Garden, New York city. Before embarking on a theatrical career, Elliott was a well-known minor league baseball umpire, offi- ciating for several seasons ii Ohio and Pennsylvania end N« York State Leagues. He broke in Billy Evans, the famous American League arbiter, who Is a native of Youngstown. sir. Elliott will return to kind over the summer months, turning in August to take over his new assignment. His son. "BUT* Elliott, is a famous football star, having played fullback at Lafayette college for the past two years AMALGAMATED REGAINS The local Pan tapes office was no- tified Wednesday that the Capitol. Wilkes-Barre. Pa„ will be withdrawn from the routing books of that office In two weeks. According to report^, the Wilkes-Barre house will return to the Amalgamated agency for Its vaudeville bills. The Capitol switched from the Amalgamated to the Pantages office several months ago. when a pooling arrangement was entered Into be- tween C. H. Miles and M. J. CoWfer- ford, governing their respecters houses Jn Scranton and Wilkes- Barre. ENGAGEMENTS Lew Kelly, for Julian Eltinge'e "Fascinating Widow" show. Keen Twine (Margaret and ETtea- beth). for "Daffy Dill." Mlgnon Laird, "The Son Dodger* (vaudeville). Mrs. Charles Craig and Feller Melllsh. •Haunted." Lucille Chalfent, The Greenwich Village Follies." Violet Barney. Merkle-Hardcr stock, Johnstown, Pa, Katherine Van Buren, for Alcasar stock, San Francisco. Walter Connolly, stock company in Now Itrunswlck, N. J. Herbert Waterous for Oilbort and Sullivan revivals with P. Wolf Hop- per. Mary Haun for "Daffy Dill" Mark Linder for B, Tnouiat Peat- ty's Shubrj-t unit. M irjorif Booth, fotnnr leading woman for the Wilkes. Bteck at Portland, Ohio, and more receafty in "The Tavern" nitn G m. Cohan, ). is been r- Nth) ' Vl Betasco fnf a rob* in 'Shore L< av»." which fOCl in roh<\ir: ii in \t month. Robert Ames, Hortense Aldan, John Dary Murphy an.l Millicent Han ley f<»r William Anthony Mc- Qnir.'s '"It's a Hoy." Allen Ke Wit) f ( , r "Tn the Lo.lies," when It open* In Chicago, Sept. 4.