THE GRAMOPHONE

Southland Times, Issue 20082, 20 January 1927, Page 11

THE GRAMOPHONE

RECORDS OF THE RECORDINGS. (By “Vox Populi”) Although there are occasions when Ulysses Lappas, the Greek tenor, may be safely’ accused of being slightly off pitch, the fault is just a shading, and his records are among the most brilliant of the granu* phone releases. His is one of the great voices of the time and it records effectively. One cannot help being impressed by his singing of “Cielo e mar” from “La Gioconda” which is given with wonderful tone, reminding one of the days when Caruso records used to burst in on one with electrifying effect. Although “Celeste Aida” is not quite so good it is a fine performance. The last note of Lappas’s range may dis close a slight strain, but below that there is w’onderful evenness and excellent contiol. I strongly recommend this Columbia issue (L 1762) sent me in a batch of releas® from Dickey’s, Ltd. this week. From Greece to the Old Country and to make the ac quaintance of Heddle Nash, a new British tenor, whose singing at the Old Vic. in London has attracted a lot of attention. Here is a tenor of operatic calibre used with Continental freedom, though a tremolo appearing now and then is a little disturbing. Heddle Nash sings in English, his articulation is cloudy at times, and acquits himself better than a whole barrowful of British tenors enjoying bigger reputations. He sings “O Paradise” from Meyerbeer’s “L’Africana” and “Una furtiva lagrinia” from “L’Elisir d’Amore” (9104). This record heard immediately after the brilliant Lappas performance quite holds its own, which says much for its quality. Another record of outstanding beauty in a month well supplied with Columbia achievements is Lionel Tertis’s viola solos. Tertis is well-known, of course, to gramophone people, but 1 doubt if his performances contain anything closer to complete satisfaction than his playing of “An Old Irish Air” (L 1761 Although the. new processes have not done as much for the stringed instruments as for the other members of the orchestra, the viola records with a characteristic tone, anil in the hands of an artist like Tertis is an instrument of breathless beauty. His own “Ilier au soir,” in romantic vein, is very beautiful. Really this record among the Columbias received from Dickey’s, Ltd. this week is one. that I strongly urge you to acquire, even if the rise in the price of wool does not continue. Now, having worked off the three outstanding items in the Columbia group from Dickey’s, Ltd. let us to the remaining instrumental records. The 8.8. C. Wireless Orchestra under Percy Pitt plays two numbers from Rimsky-Korsakov’s “Le Coq d’Or” (9101).—The Russian Dance and Bridal Procession. In each case from a quiet beginning the music works up to a finale of barbaric frenzy, full of suggestions of the East. The orchestra may not be as heavy as one would like, but it gives these two items with enough vigour to give one quite a thrill at the conclusion. The “Hearts and Diamonds” selection played by the “1926” orchestra under Percival Mackey (9055) combines a collection of Darewski airs. If is blatantly played and lacks interest. “The Thistle” selection by the band of the Grenadier Guards (9102), based on well-known Scottish airs, puts the “1926 orchestra” completely out of court —the Guards’ band pays some attention to the artistic side—the Mackey troupe, though larger, has less combined skill than a dance orchestra playing fox trots. Despite a long and amusing title, the Circolo Mandolinistico Giuseppe Verdi of Leghorn, a remarkable mandoline band, gives the first mandoline records I have really enjoyed. The bass of this band is extraordinarily effective in both Scugnizza (a serenade) and the Spanish Serenade. The mandoline band of Leghorn should not be overlooked (3984). Bernard Reille’s violin recording of Kreisler’s setting of the Song of India and a Beethoven minuet is spoilt, by the poor tone that comes through (3985). How very much more impressive are the saxophone solos by Rudy Wiedoeft. The saxophone is the butt of many jokes, but in the hands of a master it is a very fine instrument. Hear Wiedoeft’s records of “La Cinquantine” and his own arrangement of the Beethoven minuet, and you will recognise that Wiedoeft can lift the saxophone above jazz (0527). Percival Mackey is a slick pianist who reminds us pleasantly of those two effective melodies from “Lady Be Good”—the song which repeats the title of the musical comedy and the “Fascinating Rhythm” (4000). Finally there is the duet by Fred Rich and Alan Moran who play “Barcelona”—this item is carelessly included under Piano Solos in the Australian Catalogue—and Rudolph Frinil playing his own Chansonette (0520). The pianoforte tone in this record is very good. Thelma Peterson is described as a mezzosoprano but her records suggest a contralto, particularly in “Aftermath” by Cleaver, accompanied by the pianoforte and organ. She has a fine voice, though it wobbles occasionally, and in good material such as Grechaninov’s “The Dreary Steppe” she gives a very fine performance (3986). Thelma Peterson will strengthen the ranks of the Columbia mid-rank artists. Rex Palmer goes passionately through Hatton’s “To Anthea” anil “To Mary” (3986). The Sophomores give one of their best items in “Georgiana” (4001) associated with “Honey Mine.” The Australian pressings include two records by the Sophomores both of them first-class. “Then I’ll be Happy” and “When the red, red robin conies bob, bob, bobbin’ along” (0519). W. P. Watt sings “The Fairy Tales of Ireland” and “Little Town of Quid County Down.” He has a pleasant tenor, and it is worth better stuff than this (3977). Dora Labette’s records are always pleasing without being impressive. She sings “At the Rainbow’s End,” a Landon Ronaldish song and the “Song of a. Nightingale” by Morltague Phillips (D 1548 These are both attractive. Dora Labette’s upper register comes through particularly well. Layton and Johnstone, a pair of American duettists (males) who use the tricks that have become popular, sing “Dreaming of a castle in the air” and “Headin’ for Louisville” (4002). The first item is also to be found on an Australian issue (0523) with “At Peace with the World” sung by Franklin Burr, a tenor. In the Australian list there also appears “Hi, Ho the Mcrrio” sung by Frank Harris and “I wish I had my old gal back again” sung by Lewis James another tenor (0525). The dance records in the Columbia lists from Dickey’s Ltd. are as follows (fox trots unless otherwise stated) : 4019 —“Carolina” and “The Pearl of Malabar” by Bert Rylton’s Havana Band. 4021—" Waltzing the Blues Away” and “I wish I had my old gal back again,” waltzes by the Denza Dance Band. 0526—“ When the Red, Red, Robin Comes Bob, Bob, Bobbin’ Along” and “Talkin’ to the Moon” by Jimmy Elkin’s Orchestra. 0521—“ Bye-Bye., Blackbird” by Leo Reisman’s Orchestra, and “Hi, Ho, The Merrio” by The Knickerbockers. 0518 —“Who?” by the Ipana Troubadours and Tm Walking Around in Circles” by The Radiolites. 0522 —“Say It Again” by Harry Reser’s. Syncopators and “To-night’s My. Night with Baby” by The Knickerbockers. 0524—“ Lonesome And Sorry” by the Cliquot Club Eskimos and “lyone, My Own lyone” by Ted Lewis and His Band (Hawaiian Guitar by Frank Ferrara). 0528 —“On the Riviera” Spanish one-step by Fred Rich’s Hotel Astor Orchestra and “The Pump Song” by Earl Gresh’s Gangplank Orchestra. 0529—“ Baby Face” by the Ipana Troubadours and “Looking at the World thru’ rose-coloured Glasses” by Paul Ash’s Orchestra. 0530—“ Katinka” by Fred Rich’s Orches* tra and “Am I Wasting My Time On You” —Waltz by The Cavaliers.

First of all “The Pump Song,” with the squeaking of the handle cleverly reproduced, is the best version of that song I have heard; the orchestration is really clever. “The Pump Song” is sure to be one of the hits of the next dance season and I think “When the red, red, robin comes bob, bob, l>obbin’ along” is sure to be popular. Both make first-class fox trots. Let me recommend also “Hi, ho the Merrio” and the joyous burlesque of “lyone, My Own lyone,” with its feline hits at Hawaiian melodies. On the reverse is “Lonesome and Sorry” with some fine work on banjos and xylophones. “Bye-bye Blackbird” is another excellent number. “Carolina” and “The Pearl of Malabar” can be safely recommended. You should also listen to “Who?” which has many novel touches. “On the Riviera” is a Spanish one-step which does not sound like an imitation of “Valencia.” There are very good points in ‘Katinka” and any record by The Knickerbockers can be taken up with confidence.